EX  LIBRIS 

WILLYS  A.  MYERS 

American  Vice-Consul 


J^  Ellis  >Stanyon 


X>^Poni\  Piibli.yKirvg    Company 


COPTBIGHT  1901  BY  THB  PBNN  PUBLISHINO  COMPANY 


Contents 


CHAP.  PAGE 

I.    INTRODUCTION 11 

II.  PRINCIPLES     OF     SLEIGHT     OF    HAND 

APPLICABLE   TO    SMALL   OBJECTS    .      26 

III.  TRICKS   WITH    COINS 33 

IV.  TRICKS    WITH   HANDKERCHIEFS       .      .      57 
V.    TRICKS   WITH    BALLS 93 

VL    HAT   TRICKS 114 

VII.  ANTI-SPIRITUALISTIC   TRICKS       .      .      .    127 

VIIL    AFTER  DINNER  TRICKS 142 

IX.    MISCELLANEOUS    TRICKS 159 

X.    STAGE   TRICKS 209 

XI.    SHADOWGRAPHY 228 


2083015 


Preface 


The  art  of  pretended  magic  dates  back  to  the 
remotest  antiquity.  It  has  been  known  under 
various  names,  such  as  AYhite  Magic,  Conjuring, 
Katural  Magic,  and  Prestidigitation.  Jannes 
and  Jambres,  the  magicians  of  Pharaoh,  con- 
tended against  Moses  and  Aaron.  In  the  British 
Museum  there  is  an  Egyptian  papyrus,  which 
contains  an  account  of  a  magical  seance  given 
by  a  thaumaturgist  named  Tchatcha-em-ankh  be- 
fore King  Khufu,  b.  c,  3766.  In  this  manuscript 
it  is  stated  of  the  magician  :  "  He  knoweth  how 
to  bind  on  a  head  which  hath  been  cut  off,  and  he 
knoweth  how  to  make  a  lion  follow  him  as  if  led 
by  a  rope."  The  decapitation  trick  is  thus  no 
new  thing,  while  the  experiment  with  the  lion, 
unquestionably  a  hypnotic  feat,  shows  hypnotism 
to  be  old. 

The  temples  of  Egypt,  Greece  and  Rome  were 
veritable  storehouses  of  magic  and  mystery.  The 
pagan   priesthood    attained   a  wonderful   profi- 


6  preface 

ciency  in  optical  illusions.  In  the  Middle  Ages 
magic  was  greatly  in  vogue.  Later  on  Nostra- 
damus conjured  up  the  vision  of  the  future  king 
of  France  for  the  benefit  of  the  lovely  Marie  de 
Medicis.  This  illusion  was  accomplished  by  the 
aid  of  mirrors  adroitly  secreted  amid  hanging 
draperies.  Eeginald  Scott,  in  1584,  in  Discoverie 
of  Witchcraft,  enumerates  the  stock  feats  of  the 
conjurers  of  his  day.  The  list  includes  "  swal- 
lowing a  knife ;  burning  a  card  and  reproducing 
it  from  the  pocket  of  a  spectator ;  passing  a  coin 
from  one  pocket  to  another ;  converting  money 
into  counters,  or  counters  into  money ;  convey- 
ing money  into  the  hand  of  another  person ; 
making  a  coin  pass  through  a  table,  or  vanish 
from  a  handkerchief ;  tying  a  knot,  and  undoing 
it  '  by  the  power  of  words ' ;  taking  beads  from 
a  string,  the  ends  of  which  are  held  fast  by  an- 
other person ;  making  corn  to  pass  from  one  box 
to  another;  turning  wheat  into  flour  'by  the 
power  of  words ' ;  burning  a  thread  and  making 
it  whole  again ;  pulling  ribbons  from  the  mouth ; 
thrusting  a  knife  into  the  head  or  arm ;  putting 
a  ring  through  the  cheek  ;  and  cutting  off  a  per- 
son's head  and  restoring  it  to  its  former  posi- 
tion." 

A  number  of  these  feats,  in  an  improved  form, 


pretace  7 

survive  to  this  day.  In  the  early  part  of  the 
eighteenth  century  conjuring  made  considerable 
progress.  Men  of  education  and  address  entered 
the  profession,  thereby  elevating  it  from  the 
charlatanry  of  the  strolling  mountebank  to  the 
dignity  of  a  theatrical  performance.  The  nobil- 
ity of  Paris  flocked  to  the  opera  house  to  see 
the  great  Pinetti  perform.  Following  him  came 
Torrini,  Comte,  Bosco,  Philippe,  and  finally  the 
king  of  conjurers,  Eobert-Houdin.  In  the  year 
18^4,  Houdin  inaugurated  his  Fantastic  Evenings 
at  the  Palais  Koyal,  Paris,  and  a  new  era  dawned 
for  magic.  He  reformed  the  art  by  suppressing 
the  suspiciously-draped  tables  of  his  predecessors, 
substituting  for  these  "  clumsy  confederate 
boxes "  light  and  elegant  tables  and  little  gueri- 
dons,  undraped.  He  went  still  further  in  his  in- 
novations by  adopting  the  evening  dress  of  every- 
day life,  instead  of  the  flowing  robes  of  many  of 
the  magicians  of  the  old  regime.  His  tricks  were 
of  a  different  order,  sounding  the  death  kneU  of 
double-bottomed  boxes,  and  apparatus  which  was 
too  evidently  designed  for  the  magical  disappear- 
ance and  reappearance  of  objects. 

Houdin  has  well  earned  the  title  of  "The 
Father  of  Modern  Conjuring,"  and  his  autobiog- 
raphy makes  fascinating  reading, 


8  preface 

Since  Houdin's  time,  conjuring  has  made  rapid 
strides.  The  wide  dissemination  of  literature  on 
the  subject  and  the  consequent  exposes  have 
stimulated  magicians  to  invent  new  tricks,  or  im- 
prove old  ones.  The  study  of  magic  in  addi- 
tion to  being  a  fascinating  amusement  has  a 
pedagogical  value,  admitted  by  all  professors  of 
psychology;  it  sharpens  the  mental  faculties, 
especially  those  of  observation  and  attention. 

A  comprehensive  but  concise  manual  on  the 
subject  of  up-to-date  tricks  will  be  welcomed  by 
the  student. 

I  take  pleasure  in  introducing  to  American 
readers,  Professor  Ellis  Stanyon's  capital  manual 
on  sleight-of-hand.  Professor  Stanyon  is  one  of 
the  most  prolific  as  well  as  one  of  the  cleverest 
living  writers,  on  the  subject  of  legerdemain.  He 
has  done  much  to  popularize  the  fascinating  art  of 
white  magic.  His  excellent  chapter  on  "  After- 
Dinner  Tricks  "  is  particularly  recommended  as  be- 
ing within  the  province  of  almost  any  amateur  who 
possesses  a  modicum  of  personal'address  and  a  fair 
amount  of  digital  dexterity.  I  have  supplemented 
the  work  with  chapters  on  "  Shadowgraphy,"  and 
"  Stage  Illusions,"  also  a  number  of  tricks  which 
have  proved  "drawing  cards"  in  the  hands  of 
American  conjurers,  like  the  late  Alexander  Herr- 


preface  9 

mann,  and  living  artists  like  Kellar,  Elliott,  Plate, 
Eobinson,  Fox,  Powell,  etc.  In  the  preparation 
of  the  additional  matter,  I  ara  indebted  for  many 
valuable  hints  to  those  dexterous  and  clever 
performers,  Doctor  Elliott,  Adrian  Plate  and 
^\^illiani  E.  Robinson,  who  are  especially  noted 
as  inventive  minds  in  the  realm  of  pure  sleight- 
of-hand. 

Henry  Eidgely  Evans, 

Washington,  D.  C. 


Magic 


CHAPTER  I 
i:n'troduction 

There  are  one  or  two  leading  principles  to  be 
borne  in  mind  by  any  one  taking  up  the  study  of 
magic.  Tiie  llrst  and  foremost  is,  Xever  tell  the 
audience  what  you  are  going  to  do  before  you  do 
it.  If  you  do,  the  chances  of  detection  are  in- 
creased tenfold,  as  the  speciators,  knowing  what 
to  expect,  will  the  more  readily  arrive  at  the  true 
method  of  bringing  about  the  result. 

It  follows  as  a  natural  consequence  that  you 
must  never  perform  the  same  trick  twice  in  the 
same  evening.  It  is  very  unpleasant  to  have  to 
refuse  an  encore ;  and  should  ^^ou  be  called  upon 
to  repeat  a  trick  study  to  vary  it  as  much  as  pos- 
sible, and  to  bring  it  to  a  different  conclusion. 
There  will  generally  be  found  more  ways  than 


12  ^aeic 

one  of  working  a  particular  trick.  It  is  an  axiom 
in  conjuring  that  the  best  trick  loses  half  its 
effect  on  repetition. 

Should  a  hitch  occur  in  the  carrying-out  of  the 
programme  by  the  accidental  dropping  of  an 
article,  or  from  any  other  cause,  above  all  things 
do  not  get  confused,  but  treat  the  matter  as  a 
good  joke,  and  meet  the  difficulty  with  a  smile, 
making  use  of  some  such  expression  as  the  fol- 
lowing: "Well,  you  see  I  put  it  down  there  to 
show  that  it  would  gOo  It  is  perfectly  solid  and 
does  not  stick."  By  this  means,  instead  of  spoil- 
ing the  entertainment,  you  add  greatly  to  the 
amusement  of  the  spectators. 

Do  not  cultivate  quick  movements,  at  the  same 
time  it  will  never  do  to  be  painfully  slow ;  but 
endeavor  to  present  your  tricks  in  an  easy-go- 
ing, quiet,  graceful  manner.  It  is  generally  un- 
derstood that  "  the  quickness  of  the  hand  deceives 
the  eye,"  but  this  is  entirely  erroneous.  It  is  im- 
possible for  the  hand  to  move  quicker  than  the 
eye  can  follow,  as  can  be  proved  by  experiment. 
The  deception  really  lies  in  the  method  of  work- 
ing the  trick,  and  in  the  ability  of  the  performer 
in  misdirection,  as  will  be  seen  from  a  perusal  of 
the  following  pages. 

A  little  well-arranged  talk  as  an  introductory 


fntroDuction  13 

to  an  entertainment  will  be  found  to  put  you  on 
good  terms  with  your  audience.  A  few  words, 
something  like  the  following,  will  suflBce : 
"Ladies  and  Gentlemen,  with  your  kind  atten- 
tion I  shall  endeavor  to  amuse  you  with  a  series 
of  experiments  in  legerdemain.  In  doing  so  I 
wish  it  to  be  distinctly  understood  that  1  shall 
do  my  best  to  deceive  you,  and  upon  the  extent 
to  which  I  am  able  to  do  so  will  depend  my  suc- 
cess." 

At  the  close  of  an  entertainment  a  little  speech, 
of  which  the  following  is  an  example,  will  be 
found  to  prove  a  good  finish  :  "  Ladies  and  Gen- 
tlemen, in  concluding  my  entertainment  I  have 
only  to  say  that,  apart  from  deceiving  you,  which 
was  but  a  secondary  consideration,  if  I  have  been 
able  to  afford  you  some  slight  amusement  I  feel 
amply  rewarded." 

In  concluding  these  remarks  I  must  enforce 
upon  the  novice  the  necessity  for  constant  prac- 
tice, without  which  the  clearest  instruction  would 
be  useless.  This  applies,  not  only  to  conjuring, 
but  equally  well  to  any  form  of  amusement,  so 
the  would-be  magician  may  congratulate  himself 
on  the  fact  that  the  difficulties  to  surmount  are 
not  in  excess  of  those  of  any  other  form  of  en- 
tertainment. 


14  Hb^QiC 

Before  proceeding  to  describe  the  various  tricks 
it  will  be  well  to  notice  one  or  two  appliances  of 
general  utility. 

The  Dress. — The  usual  attire  of  the  modern 
magician  is  the  conventional  evening  dress,  but  I 
have  known  performers  of  the  present  day  to 
adopt  various  fancy  costumes. 

Where  the  ordinary  dress  coat  is  used,  each  tail 
is  provided  with  a  large  pocket,  known  as  a  pro- 
fonde,  the  mouth  of  which  i^  on  a  level  with  the 
knuckles,  and  slopes  slightly  to  the  side.  These 
pockets,  which  are  usually  seven  inches  square, 
are  lined  with  buckram,  and  sewn  on  rather  full, 
to  keep  them  constantly  open.  They  are  used  to 
contain  "  loads  "  for  hat  tricks,  etc.,  also  to  vanish 
articles,  such  as  watches,  eggs,  or  balls. 

In  addition  to  these  pockets,  two  others,  known 
as  pochettes,  are  used  on  the  trousers.  These 
are  sewn  on  rather  full  at  the  back  of  the  thigh, 
on  a  level  with  the  knuckles,  and  covered  by  the 
tails  of  the  coat ;  they  are  useful  to  contain  rings, 
coins,  or  other  small  articles  required  in  the 
course  of  the  performance. 

There  are  also  two  pockets  known  as  breast 
pockets,  one  in  each  side  of  the  coat.  These 
should  be  of  a  size  large  enough  to  contain  a  din- 


fntroDuction  15 

ner  plate,  and  should  be  made  with  the  bottom 
sloping  a  little  toward  the  back,  to  prevent 
articles  placed  in  them  from  falling  out.  The 
opening  should  be  in  a  perpendicular  position  one 
and  a  half  inches  from  the  edge  of  the  coat. 
These  are  loaded  with  rabbits,  doves,  etc.,  or  any 
large  or  cumbersome  article  required  for  magical 
production. 

In  the  case  of  fancy  costumes  the  pockets,  if 
required,  must  be  arranged  as  the  attire  permits. 
If  you  perform  in  a  dinner  jacket,  the  ordinary 
side  pockets  can  be  used  for  producing  or  vanish- 
ing the  articles.  The  breast  pockets,  as  already 
described,  can  be  retained. 

The  Table. — There  are  a  great  many  tricks 
which  can  be  performed  without  the  aid  of  a 
special  table ;  in  fact,  tables  of  any  description 
are  very  secondary  articles  in  the  stage  settings 
of  conjurers  of  the  present  day.  Where  they  are 
employed  they  are  usually  of  the  small  round 
tripod  pattern,  fancifully  made  for  show,  and  are 
used  only  for  the  purpose  of  an  ordinary  table. 

Tables  with  traps  and  other  mechanical  ap- 
pliances are  almost,  if  not  entirely,  out  of  date, 
no  performer  with  any  pretensions  to  originality 
making  use  of  them. 


16  ^aaic 

A  neat  little  table  can  be  made  from  a  piece 
of  board  eighteen  inches  in  diameter,  covered 
with  red  baize,  and  hung  with  fancy  fringe  to 
taste  ;  the  legs  taking  the  form  of  an  ordinary 
music  stand.  The  under-side  of  the  table  is  fitted 
with  a  brass  plate  holding  a  pin,  about  two 
inches  long,  to  fit  the  socket  of  the  stand.  This 
forms  one  of  the  most  compact  tables  possible, 
and  is  greatly  in  vogue,  as  the  stand  can  be  folded 
up  into  a  small  compass,  and  placed,  together 
with  the  top,  in  a  black  canvas  case  for  traveling. 
Two  of  these  tables  will  occupy  very  little  more 
room  than  one,  and  they  look  well  in  pairs. 
They  will  generally  be  found  to  afford  sufficient 
convenience  for  an  evening's  entertainment. 

The  Servante. — This  is  a  secret  shelf  behind 
the  performer's  table,  on  which  are  placed  articles 
to  be  magically  produced  in  various  ways.  It  is  also 
^sed  to  vanish  articles  as  occasion  may  require. 

In  the  absence  of  a  specially  prepared  table  a 
servante  can  be  readily  devised  by  pulling  out 
the  drawer  at  the  back  of  any  ordinary  table 
about  six  inches,  and  throwing  a  cloth  over  the 
whole,  the  cloth  being  pushed  well  into  the 
drawer  so  as  to  form  a  pad  to  deaden  the  sound 
of  any  article  dropped  into  it. 


Introduction  17 

If  a  tab'iv  \vith  a  drawer  cannot  be  obtained,  a 
servante,  which  will  answer  every  purpose,  can 
be  arranged  by  throwing  a  cloth  over  the  table 
and  pinning  it  up  behind  in  the  form  of  a  bag. 

In  the  case  of  the  small  round  tripod  tables,  a 
small  drawer,  made  from  a  cigar  box,  can  be  at- 
tached to  the  under  side  of  them,  and  pulled  out 
as  required.  The  fringe  decorating  the  edge  of 
the  table  will  conceal  the  presence  of  the  drawer ; 
but  if  the  whole  of  the  under  side  of  the  table, 
drawer  included,  be  painted  black,  it  cannot  be 
detected  at  a  few  paces. 

There  are  various  forms  of  portable  servantes 
for  fixing  to  the  back  of  a  table  or  chair.  A 
description  of  one  for  use  on  a  chair  will  be 
sufficient  to  give  a  clear  idea  of  the  construction 
of  others,  which  can  be  arranged  as  required  by 
the  ingenuity  of  the  performer.  A  piece  of  one- 
half  inch  board,  seven  inches  by  five  inches,  is 
covered  with  green  baize,  and  slightly  padded  on 
one  side  with  cotton  wool,  to  prevent  injury  to 
any  fragile  article  that  may  come  in  contact  with 
it  in  the  course  of  the  performance.  To  this  is 
screwed  an  iron  frame  (Fig.  1)  of  the  same  di- 
mensions as  the  board.  The  frame,  which  carries 
a  network  as  shown,  is  screwed  to  the  board  in 
such  a  way  that  it  will  fold  up  flush  with  the 


IS 


ItStlQiC 


same,  the  whole  being,  when  closed,  under  one 
inch  in  thickness.  The  frame  carrying  the  net- 
work is  prevented  from  opening  too  far  by  an 
iron  bar  screwed  to  the  back  of  the  woodwork, 
the  sides  of  the  frame  being  extended  under  this 
as  shown.     The  board  is  fitted  with  two  brass 

eyelets  for  at- 
taching it  to 
the  top  rail 
of  an  ordi- 
nary chair  by 
means  of  two 
screw  eyes  or 
stout  pins. 
To  conceal 

Fig.  l.-The  Servants  ^^^    servante 

throw  a  fancy  cloth  over  the  back  of  the  chair. 


The  Wand. — This  is  a  light  rod  about  fifteen 
inches  long  and  one-half  inch  in  diameter,  usually 
of  ebony,  with  ivory  tips ;  a  plain  rod,  however, 
will  answer  the  purpose  equally  well. 

The  use  of  the  wand  is  regarded  by  the  un- 
initiated as  a  mere  affectation  on  the  part  of  the 
performer,  but  such  is  far  from  being  the  case. 
Its  uses  are  legion.  In  addition  to  the  prestige 
derived  from  the  traditional  properties  of  the 


Introduction  19 

wand,  which  has  been  the  mystic  emblem  of 
the  magician's  power  from  time  immemorial, 
it  is  absolutely  necessary  for  the  successful 
carrying-out  of  many  experiments,  as  will  be 
seen  in  the  course  of  the  present  work.  For  in- 
stance, having  palmed  a  coin,  say  in  the  right 
hand,  you  lower  that  hand  and  take  up  the 
wand,  which  effectually  conceals,  in  a  perfectly 
natural  manner,  the  presence  of  the  coin.  The 
wand  is  now  passed  once  or  twice  over  the  left 
hand,  which  is  supposed  to  contain  the  coin,  and 
on  opening  the  hand  the  coin  will  be  found  to 
have  vanished.  It  will  thus  be  seen  that  the 
wand  is  of  the  utmost  importance. 

Concluding  Observations. — The  arrange- 
ment of  the  stage  is  now  to  be  considered  by  the 
amateur.  If  the  performance  is  to  be  given  in  a 
parlor,  a  space  must  be  curtained  off  at  one  end 
large  enough  to  accommodate  the  magic  tables, 
and  allow  sufficient  room  between  them  and  the 
audience  to  enable  the  conjurer  to  execute  the 
various  exchanges,  etc.,  necessary  to  the  success- 
ful accomplishment  of  particular  tricks.  When 
called  upon  to  give  an  entertainment  in  a  house, 
where  there  are  two  adjoining  parlors,  separated 
by  folding-doors,   the    magician    can    seat    his 


20 


Abadic 


audience  in  the  front  parlor,  and  use  the  back 
one  for  the  stage,  the  folding-doors  making  an 
admirable  substitute  for  a  curtain.  E'ow  as  to 
the  placing  of  the  tables  (Fig.  2).  It  is  custom- 
ary for  the  large  table  to  occupy  the  centre 
of    the    room,    beneath    or    just    back    of    the 


Fig.  2.— Placing  of  Tables 

chandeliers,  flanked  by  two  small  tripod  tables 
or  gueridons.  A  couple  of  wax  tapers  in  silver 
or  brass  holders,  placed  on  the  centre  table,  gives 
a  fine  effect  to  the  whole.  The  amateur  must 
take  care  that  there  are  no  brio^ht  lio^hts  behind 
his  tables,  or  worse  still  a  mirror.     Behind  the 


ITntroDuction  21 

scenes  provide  a  table  to  hold  the  apparatus  to 
be  used  in  the  various  experiments.  In  arrang- 
ing tricks  for  the  programme  very  little  informa- 
tion should  be  afforded  the  inquisitive  spectator 
as  to  the  real  nature  of  the  illusion  to  be  per- 
formed ;  this  caution  being  in  accordance  with 
the  conjurer's  axiom  :  Never  tell  your  audience 
beforehand  what  you  are  about  to  do.  For  ex- 
ample, if  you  are  to  exhibit  the  "  rising-cards  " 
call  it  on  your  programme  the  "  Cabalistic 
Cards,"  or  the  "  Cards  of  Cagliostro."  This  will 
give  no  clue  to  the  trick.  And  so  with  other 
illusions.  Eobert  Heller,  a  clever  entertainer^ 
described  his  experiments  somewhat  as  follows : 

1.  With  a  w^atch. 

2.  With  thirty  pieces  of  silver. 

3.  With  a  candle. 

4.  Mocha. 

The  late  Alexander  Herrmann — "Alexander 
the  Great " — was  equally  non-communicative. 
"Thirty  minutes  with  Herrmann,"  "A  bouquet 
of  mystical  novelties,"  etc.,  sufficed  to  describe 
a  dozen  or  more  brilliant  feats  of  legerdemain. 
Arrange  your  magical  novelties  in  groups,  e.  g.  : 
two  or  three  coin  tricks,  three  or  four  handker- 
chief tricks,  etc.,  and  not  a  coin  trick,  then  an 
illusion   with   a   handkerchief,    followed    by  an- 


22  ^agtc 

other  feat  with  a  coin.  Lead  up  to  the  best 
trick  in  each  group  with  several  smaller  feats 
of  a  more  or  less  similar  nature.  This  is  well 
illustrated  in  the  "  Magical  production  of  flow- 
ers," explained  in  Chapter  IX. 

In  addition  to  the  programmes  intended  for 
distribution  among  the  spectators,  the  performer 
must  have  a  private  programme  of  his  own,  stuck 
up  in  a  conspicuous  place  behind  the  scenes. 
Upon  this  stage-programme  is  a  list  of  the  tricks 
to  be  performed  during  the  evening,  with  the 
articles  used  in  each  trick.  This  is  to  prevent  con- 
fusion. It  is  impossible  for  the  performer  or  his 
assistant  to  always  keep  in  mind  the  multifarious 
articles  that  go  with  each  magical  feat.  When 
you  retire  behind  the  scenes  after  each  group  of 
tricks,  you  consult  the  "  prompt-programme  "  to 
see  that  you  have  everything  in  readiness  for  the 
next  series  of  illusions — for  example  an  egg  se- 
creted under  your  vest,  or  a  coin  in  your  pocket. 
On  one  occasion,  I  saw  the  celebrated  Herrmann 
completely  bewildered  and  nonplussed  because 
he  did  not  have  such  a  little  thing  as  a  pin  stuck 
in  the  lapel  of  his  coat,  intended  for  use  in  the 
cornucopia  and  flower  trick.  This  occasioned  an 
awkward  hesitation  injurious  to  the  effective 
performance  of  the  feat.     Herrmann  had  failed 


Introduction  -  23 

to  examine  his  prompt-programme  behind  the 
scenes,  hence  his  embarrassing  situation. 

Each  trick  should  have  an  appropriate  verbal 
accompaniment,  technically  known  as  the  "pat- 
ter," or  boniment,  written  underneath  it,  which 
should  in  every  case  be  learned  off  by  heart. 
This,  especially  to  the  beginner,  is  a  necessity, 
and  very  few,  if  any,  of  the  best  performers 
work  otherwise. 

Having  once  become  accustomed  to  a  pro- 
gramme, it  should  never  be  changed,  in  its  en- 
tirety, for  a  new  one.  If  it  be  desired  to  vary 
the  mode  of  procedure,  this  is  best  done  by  the 
introduction  of  a  new  trick  ?nd  the  removal  of 
an  old  one.  By  such  means  the  performer  saves 
himself  a  lot  of  trouble  and  anxiety,  and  is  just 
as  likely  to  give  satisfaction  from  the  point  of 
view  of  an  audience.  This  is  the  custom  of  pro- 
fessional performers,  who  very  rarely  alter  their 
programmes ;  it  also  accounts  in  a  large  measure 
for  their  skill. 

It  is  a  weakness  with  young  performers  to 
endeavor  to  crowd  too  many  tricks  into  the  time 
allotted  to  their  part.  This  is  a  mistake,  and  is 
bound  to  lead  to  disastrous  results.  Each  trick 
requires  its  proper  time,  which  is  best  found  by 
experiment,   and    the   entertainment   should   be 


24  ^afifc 

arranged  accordingly.  "A  little  and  good"  is 
better  than  "a  lot  and  bad." 

A  word  or  two  as  to  nervousness  may  not  be 
out  of  place.  If  the  performer  can  bring  him- 
self to  imagine,  for  the  time  being,  at  any  rate, 
that  he  is  the  most  wonderful  individual  in  crea- 
tion, his  success  is  assured  ;  that  is,  if  everything 
has  been  rehearsed  in  private,  and  he  knows  his 
part  thoroughly.  A  dull,  nervous,  or  morose 
performer,  however  clever  he  may  be,  is  sure  to 
make  the  spectators  feel  uncomfortable,  and  thus 
spoil  their  enjoyment ;  therefore  always  endeavor 
to  cultivate  a  cheerful  manner,  even  under  diffi- 
culties, and  you  will  find  your  audience  similarly 
affected.  Apart  from  taking  every  advantage 
for  repartee,  always  avoid  being  personal,  and 
every  possible  opportunity  for  increasing  the 
effect  of  a  trick,  the  performer  should  be  totally 
oblivious  of  all  his  surroundings  and  think  only 
of  himself  and  what  he  is  doing.  Once  this  is 
acquired,  nervousness  will  be  forever  dispelled. 

^ot  a  little  benefit  may  be  derived  from  at- 
tending entertainments  given  by  other  conjurers, 
and  every  opportunity  of  so  doing  should  be 
taken.  In  this  way,  by  listening  attentively  to 
the  remarks  of  other  auditors,  you  will  gain 
many  points,  not  only  as  to  how  a  trick  may  be 


fntroDuctfon  25 

improved,  but  also  as  to  what  movements  in  the 
execution  of  the  same  are  unnecessary  or  awk- 
ward, and  consequently  to  be  avoided.  Under 
these  circumstances  you  will  be  able  to  realize 
the  full  force  of  Burns's  well-known  words,  "  to 
see  ourselves  as  others  see  us." 


CHAPTER  II 


PRINCIPLES   OF  SLEIGHT  OF  HAND  APPLICABLE 
TO   SMALL   OBJECTS 

Palming. — The  first  thing  the  neophyte  will 
have  to  do  will  be  to  learn  palming,  i.  e.,  the  art 
of  holding  small  objects,  such  as  coins,  balls, 
nuts,  corks,  etc.,  concealed  in  the  hand  by  a 
slight  contraction  of  the  palm. 

Practise  first  with  a  coin.     A  half  dollar  is  the 

most  convenient 
size,  and  is  the 
coin  generally  pre- 
ferred by  conjur- 
ers, as  its  milled 
edge  affords  a 
ready  grip  to  the 
palm.       Lay     the 


Fig.  3. — Pa,lmiDg  Coiu 


coin  on  the  right  hand  as  shown  in  Fig.  3.  Then 
slightly  contract  the  palm  by  pressing  the  ball  of 
the  thumb  inward,  moving  the  coin  about  with  the 
forefinger  of  the  left  hand  until  you  find  it  is  in 
a  favorable  position  to  be  gripped  by  the  fleshy 

26 


Slcigbt  ot  IbanD  Applicable  to  small  ©bjects    27 


Fig.  4. — Palming  Coin 


portions  of  the  hand.  Contmue  to  practise  this 
until  YOU  can  safely  turn  the  hand  over  without 
any  fear  of  letting  the  coin  fall. 

^^hen  you  can  accomplish  this  with  ease,  lay 
the  coin  on  the  tips  of  the  second  and  third  fin- 
gers, steadying  it  with  the  thumb  as  in  Fig.  4. 
Then  moving  the 
thumb  aside,  to 
right,  bend  the 
gers,  and  pass 
coin  up  along 
side  of  the  thumb 
into  the  palm,  which 
should  open  to  re- 
ceive it,  and  where,  if  you  have  followed  the 
previous  instructions,  you  will  find  no  diificulty 
in  retaining  it. 

As  soon  as  you  can  do  this  with  the  hand  at 
rest,  practise  the  same  movement  with  the  right 
hand  in  motion  toward  the  left,  as  if  you  really 
intended  to  place  the  coin  in  that  hand.  To  get 
this  movement  perfect,  it  is  advisable  to  work  in 
front  of  a  mirror.  Take  the  coin  in  the  right 
hand  and  actually  place  it  in  the  left  several 
times ;  then  study  to  execute  the  same  movement 
exactly,  with  the  exception  that  you  retain  the 
coin  in  the  right  hand  by  palming. 


28  /IBaglc 

When  appearing  to  transfer  a  coin,  or  anj 
small  object,  from  the  right  hand  into  the  left, 
the  left  hand  should  rise  in  a  natural  manner  to 
receive  it.  The  right  hand,  in  which  is  the 
palmed  coin,  should  fall  to  the  side ;  and  the  left 
hand  should  be  closed  as  if  it  actually  contained 
the  coin,  and  should  be  followed  by  the  eyes  of 
the  performer.  This  will  have  the  effect  of 
drawing  all  eyes  in  that  direction,  and  in  the 
meantime  the  right  hand  can  drop  the  coin  into 
the  profonde,  or  otherwise  dispose  of  it  as  may 
be  necessary  for  the  purpose  of  the  trick. 

Let  it  be  distinctly  understood  once  for  all  that 
when  you  desire  to  draw  the  attention  of  the 
audience  in  a  certain  direction  you  must  look 
fixedly  in  that  direction  yourself. 

The  student  who  desires  to  become  a  finished 
performer  should  palm  the  various  objects,  with 
equal  facility,  either  in  the  right  or  in  the  left  hand. 

When  you  can  hold  a  coin  properly,  as  described, 
practise  with  a  small  lemon,  a  watch,  or  any 
other  objects  of  similar  size.  In  this  case,  how- 
ever, owing  to  the  greater  extent  of  surface,  it 
will  not  be  found  necessary  to  press  the  object 
into  the  palm,  but  simply  to  close  the  fingers 
round  it,  in  the  act  of  apparently  placing  it  in 
the  left  hand. 


Sleigbt  of  t)anD  applicable  to  Small  ©bjccts    29 

Le  ToL'KXIQUET. — This  pass  is  generally 
known  by  this  name,  so  I  will  not  depart  from 
its  time-honored  title.  Hold  the  coin  between 
the  fingers  and  thumb  of  the  left  hand  (Fig.  5), 
and  then  appear  to  take  it  in  the  right  by  passing 
the  thumb  under  and  the  fingers  over  the  coin. 

Under  cover  of  the  right  hand  the  coin  is 
allowed  to  fall  into  the  fingers  of 
the  left,  where  by  a  slight  contrac- 
tion it  may  be  held  between  the 
first  and  second  joints,  or  it  may 
be  allowed  to  fall  into  the  palm 
proper.  The  right  hand  must  be 
closed  and  raised  as  if  it  really 
contained  the  coin,  and  be  fol- 
lowed by  the  eyes  of  the  per- 
former ;  the  left  falling  to  the 
side,  and   if   necessary  dropping  Fig.  5 

the  coin  into  the  profonde.      This       ^'  Tourniquet 

pass    should  be   performed   equally   well    from 
either  hand. 


The  Finger  Palm. — Lay  a  coin  on  the  fin- 
gers as  shown  in  Fig.  6.  Then  in  the  act  of  ap- 
parently placing  it  in  the  left  hand,  raise  the 
forefinger  slightly,  and  clip  the  coin  between  it 
and  the  second  finger.     The  left  hand  must  now 


30 


/Obagic 


close  as  if  it  contained  the  coin,  and  be  followed 
by  the  eyes  of  the  performer,  while  the  right 
hand  disposes  of  the  coin  as  may  be  necessary. 

Following  is  an 
illustration  of  the 
way  in  which  this 
sleight  can  be  em- 
ployed with  good 
effect.  Place  a 
candle  on  the  table 

Fig.  6.-The  Finger  Palm  ^^    y^^j.    i^f^,   and 

then  execute  the  pass  as  above  described.  The 
thumb  of  the  right  hand  should  now  close  on  the 
edge  of  the  coin  nearest  to  itself  and  draw  it  back 
a  little;  and  at  the 
same  time  the  candle 
should  be  taken  from 
the  candle-stick  be- 
tween the  thumb  and 
fingers  of  the  same 
hand,  (Fig.  7).  The 
left  hand,  which  is 
supposed  to  contain 
the  coin,  should  now 


Fig,  7 — Application  of  the 
Finger  Palm 


be  held  over  the  candle  and  opened  slowly,  the 
effect  to  the  spectators  being  that  the  coin  is 
dissolved  into  the  flame.     Both  hands  should  at 


Sleiabt  ot  IbanD  applicable  to  Small  Objects    31 

this  point  be  shown  back  and  front,  as  the  coin, 
owing  to  its  peculiar  position,  cannot  be  seen 
at  a  short  distance.  You  now  take  the  upper 
part  of  the  candle  in  the  left  hand ;  then  lower 
the  right  hand  to  the  opposite  end  and  produce 
the  coin  from  thence,  the  effect  being  that  the 
money  is  passed  through  the  candle,  from  one 
end  to  the  other. 

To  Change  a  Coin. — Sometimes,  in  order  to 
bring  about  a  desired  result,  it  is  necessary  to 
change,  or  in  conjurers'  parlance  to  "  ring,"  a 
borrowed  and  marked  coin  for  a  substitute  of 
your  own.  There  are  many  ways  of  effecting 
this,  but  having  once  mastered  the  various 
*'  palms  "  the  student  will  readil}"  invent  means 
for  himself.  The  following,  however,  is  the  one 
generally  adopted  by  conjurers  : 

Borrow  a  coin  and  have  it  marked.  Then  take 
it  between  the  fingers  and  thumb  of  the  left 
hand,  as  in  "  Le  Tourniquet "  (Fig.  5),  having 
previously  secreted  the  substitute  in  the  palm  of 
the  right.  Xow  take  the  coin  in  the  right  hand, 
and  in  doing  so  drop  the  substitute  into  the  palm 
of  the  left,  which  you  immediately  close,  and  re- 
mark, "  You  have  all  seen  me  take  the  coin  vis- 
ibly from  the  left  hand.     I  will  now  make  it  re- 


32  ISStiQiC 

turn  invisibly."  Saying  this,  you  appear  to 
throw  the  coin  into  the  left  hand,  really  palming 
it,  and  showing  your  own,  which  every  one  takes 
to  be  the  original  borrowed  one.  You  now  pro- 
ceed with  the  trick  in  question,  disposing  of  the 
marked  coin  as  may  be  necessary. 


CHAPTEK  III 

TEICKS    WITH   COINS 

Magical  Production  of  a  Coin. — Come 
forward  with  a  coin  palmed  in  the  right  hand. 
Draw  attention  to  the  left  hand,  showing  it  back 
and  front  as  empty,  and,  as  if  in  illustration  of 
what  YOU  say,  give  the  palm  a  smart  slap  with 
the  right  hand,  leaving  the  coin  behind,  and 
slightly  contracting  the  fingers  so  as  to  retain  it ; 
now  show  the  right  hand  empty,  pulling  up  the 
sleeve  with  the  left  hand  which  masks  the  pres- 
ence of  the  coin,  then  close  the  left,  and  after 
one  or  two  passes  over  it  with  the  right  hand, 
produce  the  coin. 

A  ]SrEW  Coin  Fold. — Take  a  piece  of  paper 
four  inches  by  five  inches,  place  a  coin  on  it  and 
fold  the  top  of  the  paper  down  over  the  coin  to 
within  one  inch  of  the  bottom.  Then  fold  the 
right  hand  side  of  the  paper  under  the  coin,  treat- 
ing the  left  hand  side  in  a  similar  way.  You 
must  now  fold  the  bottom  one  inch  of  paper 

33 


34  ^ag(c 

under  the  coin  and  you  will,  apparently,  have 
wrapped  it  securely  in  the  paper  ;  but  really  it  is 
in  a  kind  of  pocket,  and  will  readily  slip  out  into 
either  hand  at  pleasure. 

Allow  several  persons  in  the  audience  to  feel 
the  coin  through  the  paper,  then  take  it  from  the 
left  hand  to  the  right,  letting  the  coin  slip  out 
into  the  left  hand,  which  picks  up  a  plate  from 
the  table.  You  now  burn  the  paper  in  the  flame 
of  a  candle,  and,  dropping  the  ashes  on  the 
plate,  the  coin  is  found  to  have  disappeared. 

A  pretty  effect  can  be  obtained  if,  instead  of 
using  a  piece  of  ordinary  paper  for  the  above, 
you  make  use  of  a  piece  of  "  flash  "  paper,  which 
when  placed  in  the  flame  of  a  candle  vanishes 
entirely,  leaving  no  trace  behind. 

Coin  and  Candle. — Kepeat  the  last  trick, 
using  "  flash  "  paper  for  the  same  and  dispensing 
with  the  plate.  When  about  to  burn  the  paper 
in  the  flame  of  the  candle,  stand  with  the  left 
hand,  which  contains  the  coin,  holding  the  right 
lappet  of  3"our  coat.  After  the  flash  show  the 
hand  empty,  then  take  hold  of  the  right  lappet 
of  the  coat  with  the  right  hand,  and  in  doing  so 
let  the  coin  drop  from  the  left  hand  into  it.  The 
left  hand    immediately  takes   hold  of  the  left 


Zx\c\\6  witb  Coins  35 

lapel,  and  both  hands  pull  the  coat  open  as  if  to 
show  that  the  coin  is  not  concealed  there.  It  is 
now  a  simple  matter,  but  very  effective,  to  lower 
the  right  hand  over  the  candle  and  produce  the 
coin  apparently  from  the  flame. 

The  Ixyisible  Flight. — Hold  the  coin  be- 
tween the  lingers  and  thumb  of  the  left  hand,  look- 
ing at  it  yourself.  From  this  position  appear  to 
take  it  in  the  right  hand  by  passing  the  thumb  under 
and  the  fingers  over  the  coin.  The  coin  is  really 
allowed  to  drop  into  the  fingers  of  the  left  hand, 
which  contract  slightly  so  as  to  retain  it ;  the 
right  hand  is  closed  as  if  it  really  contained  the 
coin  and  is  followed  by  the  eyes  of  the  performer. 
The  palm  of  the  left  hand  can  now  be  shown 
casually,  when  it  will  appear  empty,  the  coin  be- 
ing held  between  the  first  and  second  joints  of  the 
fingers,  which  are  slightly  curled.  The  left  hand 
is  now  closed  and  the  piece  apparently  passed 
from  the  right  hand  into  it ;  the  left  hand  is  then 
slowly  opened,  disclosing  the  coin  lying  on  the 
palm. 

The  reader  will  have  noticed  that  up  to  this 
point  no  duplicate  coins  have  been  used,  nor  has  it 
been  necessary  to  exchange  one  coin  for  another. 
This  forms  what  may  be  termed  legitimate  sleight 


36  /Ragfc 

of  hand,  and  is  to  be  recommended ;  but  some- 
times for  the  sake  of  effect  it  is  really  necessary 
to  use  a  duplicate  coin,  and  I  will  now  mention 
one  or  two  instances. 

For  the  following  tricks  a  duplicate  coin  is  pre- 
pared with  a  very  small  hook  attached  to  one 
side  about*  one-quarter  inch  from  its  edge.  This 
com  is  placed  in  the  performer's  right  vest  pocket, 
and  is  obtained  by  means  of  the  folio w^ing  trick. 

YAi^iiSH  FOR  Duplicate. — Holding  the  coin 
you  have  been  using  in  your  right  hand,  you  ap- 
pear to  place  it  in  the  left ;  instead  of  doing  so, 
however,  you  palm  it.  Close  the  left  hand  as  if 
it  contained  the  coin,  and  then  say  that  you  will 
pass  it  from  that  hand  into  your  waistcoat 
pocket ;  show  the  hand  empty  and  then  with  the 
same  hand  take  the  duplicate  coin  from  the 
pocket.  The  other  coin,  you  will  remember,  re- 
mains palmed  in  the  right  hand. 

To  Pass  a  Coin  Through  the  Body. — In 
continuation  of  the  preceding  trick  you  place  the 
left  hand  (holding  the  hooked  coin)  behind  the 
body  and  attach  the  coin  to  the  back  between 
the  shoulders,  remarking  : — "  I  shall  next  under- 
dertake  a  very  difficult  experiment,  which  con- 


^riclis  witb  Coins  37 

sists  in  passing  the  coin  right  through  my  body, 
commencing  from  behind,  up  into  my  left  hand  " 
(as  you  say  this  you  extend  the  hand  closed). 
Some  one  is  almost  sure  to  remark  that  the  coin 
may  be  in  the  hand  already,  to  which  you  reply : 
— "  Pardon  me,  no,  I  would  not  deceive  you  by 
so  mean  an  expedient.  See,  the  left  hand  is  per- 
fectly empty.  If  you  prefer  it  I  will  use  the 
other  hand,  which  is  also  quite  empty."  You 
should  have  been  holding  the  right  hand,  in  which 
is  the  palmed  coin,  well  extended  and  open,  with 
the  back  toward  the  audience.  The  right  hand 
will  in  nine  cases  out  of  ten  be  chosen,  but  should 
you  be  called  upon  to  use  the  left  you  will  have 
recourse  to  the  method  employed  in  the  "  Magical 
Production  of  Coin  "  at  the  head  of  this  chapter, 
to  get  the  coin  into  the  left  hand.  Should  the 
right  hand  be  chosen,  you  may,  with  some  cau- 
tion, remark : — ''  Well,  it's  just  as  well  to  have 
the  right  one,  but  still  I  left  it  to  you." 

All  that  remains  for  you  to  do  now  is  to  make 
believe,  in  the  most  dramatic  manner  possible, 
that  the  coin  is  travelling  up  the  body,  along  the 
arm,  and  into  the  chosen  hand,  whence  you  let  it 
fall  on  to  a  table  or  chair.  Should  the  coin  fall 
on  the  ground,  you  will  be  careful  not  to  expose 
the  one  on  your  back  when  picking  it  up. 


38  jflRaaic 

Swallowing  Illusions. — Having  secured 
the  coin  again,  appear  to  place  it  in  the  mouth, 
pahning  it,  and  producing  it  from  the  bottom  of 
the  vest.  Eepeat  this  pass,  and  remark  : — "  This 
time,  by  way  of  variation,  we  will  stop  the  coin 
when  it  gets  half  way  down  and  give  it  a  sharp 
push  "  (strike  your  chest  rather  violently  with 
both  hands),  "  which  will  have  the  effect  of  send- 
ing it  right  through  the  body  again."  You  now 
turn  round  and  show  the  coin  sticking  on  your 
back. 

Coin  and  Lemons. — Still  keeping  the  coin 
palmed  from  the  last  trick,  remove  the  one  from 
your  back  and  hold  it  betw^een  the  forefinger  and 
thumb  of  the  left  hand,  from  which  you  take  it 
as  in  the  "  Invisible  Flight."  This  time,  however, 
you  do  actually  take  it  with  the  right  hand,  and 
at  the  same  time  let  fall  from  the  right  hand  the 
coin  concealed  therein.  The  left  hand  now  con- 
tains a  coin,  but  will  be  thought  to  be  empty. 
This  movement  is  employed  here  to  satisfy  the 
spectators  that  you  are  working  with  one  coin 
only,  you  having,  without  apparent  design, 
shown  both  hands  empty,  with  the  exception  of 
the  piece  you  are  using. 

You  now  lay  the  hooked  coin  down  on  the 


Zv\c\{3  vvltb  Coins  39 

table  and  go  behind  the  scenes  for  three  lemons 
and  a  knife,  which  have  been  placed  there  in 
readiness  on  a  plate.  One  of  the  lemons  has  a 
slit  cut  in  it,  into  which  you  insert  the  coin  you 
have  carried  off.  Coming  forward  with  the 
lemons  on  the  plate,  you  force  the  choice  of  the 
one  with  the  coin  in  the  following  manner : — 
"Ladies  and  Gentlemen,  I  have  here  three 
lemons.  I  only  require  one  for  the  purpose  of 
my  trick  and  I  will  ask  you  to  decide  which  it 
shall  be.  AYhich  of  the  three  do  you  prefer,  the 
right  or  the  left,  or  the  one  behind  ?  "  (The  one 
behind  is  the  prepared  one.)  If  the  one  behind 
is  chosen  take  it  and  proceed.  If  the  right  or 
the  left  is  chosen  throw  it  to  the  person  making 
the  selection,  with  the  remark,  "  Thank  you,  I 
hope  you  will  find  it  sweet."  You  will  now  have 
two  left  and  you  continue  : — "  I  have  now  only 
two  lemons.  Which  one  shall  I  take,  the  right 
or  the  left  ?  "  If  the  prepared  one  is  chosen  take 
it  and  proceed  with  the  trick.  If  the  other  one 
is  chosen  take  it  with  the  remark : — "  Very  good, 
then  I  will  use  the  one  that  remains  for  the  pur- 
pose of  the  trick." 

You  now  force  the  knife  into  the  lemon,  insert- 
ing it  in  the  slit  already  made,  and  give  it  to 
some  one  to   hold  high  in  the  air.     ISTow  pick 


40  /l&adic 

up  the  coin  from  the  table  and  vanish  it  by 
one  or  other  of  the  means  already  described 
(a  good  method  is  given  in  the  next  trick), 
and  then  have  the  fruit  cut  open  and  the  coin 
disclosed. 

The  above  form  of  ambiguous  questioning  can 
be  used  in  any  trick  where  it  is  essential  that  a 
particular  article  be  chosen. 

You  can  avoid  going  behind  the  scenes  by 
adopting  the  following  ruse;  Go  to  the  wing, 
and  extending  your  hand,  in  which  is  the  coin, 
behind  it,  call  out  loudly  to  your  assistant — 
"Bring  me  those  lemons,  please."  In  drawing 
attention  to  the  fruit  it  is  perfectly  natural  for 
you  to  extend  your  hand  behind  the  wing  and 
thus  dispose  of  the  coin. 

The  Pocket  Vanish. — Take  a  coin  in  the 
right  hand  and  make  believe  to  place  it  in  the 
left,  really  palming  it.  The  left  hand  is  closed 
as  if  it  contained  the  coin  and  held  away  from 
the  body.  The  right  hand  pulls  back  the  sleeve 
slightly  as  if  to  show  that  the  coin  has  not  been 
vanished  in  that  direction.  This  movement 
brings  the  right  hand  over  the  outside  breast 
pocket  of  the  coat,  into  which  the  coin  is  allowed 
to  fall  unperceived.     The  coin  is  now  vanished 


drlcfts  witb  Coins  4i 

from  the  left  hand  in  the  orthodox  manner  and 
both  hands  are  shown  empty. 

Should  you  desire  to  regain  possession  of  the 
coin,  have  the  outside  pocket  made  communicat- 
ing with  an  inside  one  on  the  same  side  of  the 
coat;  when,  having  shown  the  right  hand  unmis- 
takably empty,  you  produce  the  coin  thence,  in  a 
magical  manner. 

The  preceding  list  of  coin  tricks  has  been  ar- 
ranged in  combination,  the  one  to  follow  the 
other  in  a  natural  manner,  for  an  entertainment, 
as  actually  presented  to  an  audience.  I  cannot, 
however,  leave  the  subject  of  coin  tricks  without 
making  mention  of  several  other  very  deceptive 
experiments,  which  Tvill  doubtless  be  new  to  the 
majority  of  my  readers. 

To  Pass  a  Coi:n-  into  an  Oedinary  Match- 
box HELD  BY  One  or  the  Spectators. — Pre- 
pare a  matchbox  as  follows: — Push  open  the 
sliding  portion  about  one  inch.  Then  fix  be- 
tween the  top  of  the  slide  and  the  back  end  of 
the  box  a  coin,  the  greater  part  of  which  is 
overhanging  the  box,  the  whole  being  out  of 
sight  of  the  casual  observer.  Arranged  thus, 
give  the  box  to  some  one  to  hold  with  instruc- 
tions that  when  vou  count  three  the  box  is  to  be 


42  /iRagfc 

closed  smartly.    This  will  have  the  effect  of  jerk- 
ing the  coin  into  the  box. 

You  now  take  a  duplicate  coin  and  vanish  it 
by  means  of  the  "  Pocket  Vanish, "  or  any  other 
convenient  method,  counting  "  One !  two !  three ! " 
when,  acting  according  to  your  instructions,  the 
person  will  close  the  box,  and  the  coin  will  be 
heard  to  fall  inside. 

Coin,  Wine-glass,  and  Paper  Cone. — This 
very  pretty  and  amusing  table  trick  consists  in 
causing  a  coin  placed  under  a  wine-glass,  the 
whole  being  covered  with  a  paper  cone,  to  disap- 
pear and  return  as  often  as  desired. 

The  following  arrangements  are  necessary : — 
Take  a  wine-glass,  and,  having  placed  a  little 
gum  all  round  its  edge,  turn  it  over  on  a  sheet 
of  white  paper,  and  when  dry  cut  away  the 
paper  close  to  the  glass.  Obtain  a  Japanese 
tray  and  on  it  lay  a  large  sheet  of  paper  similar 
to  that  covering  the  mouth  of  the  glass,  and 
stand  the  glass,  mouth  downward,  on  it.  Make 
a  paper  cone  to  fit  over  the  glass  and  you  are 
ready  to  present  the  illusion. 

Borrow  a  penny  and  lay  it  on  the  large  sheet 
of  paper  by  the  side  of  the  Avine-glass ;  cover  the 
glass  with  the  paper  cone,  and  place  the  whole 


C^ricfts  witb  Coins  43 

over  the  coin.  Command  the  penny  to  disap- 
pear, and  on  removing  the  cone  it  will  seem  to 
have  done  so,  as  the  paper  over  the  mouth  of  the 
glass,  being  the  same  color  as  that  on  the  tray, 
effectually  conceals  the  coin.  To  cause  it  to  re- 
appear you  replace  the  cone  and  carry  away  the 
glass  under  it.  This  can  be  repeated  as  often  as 
desired. 

To  make  the  experiment  more  effective,  use 
colored  paper,  which  shows  up  against  the  coin 
more  than  white. 

Coixs,  Hat,  axd  Plate.  —In  this  experiment 
a  number  of  borrowed  and  marked  coins  are 
passed  invisibly  into  a  hat  covered  with  a  plate. 

Obtain  a  small  metal  box  large  enough  to  con- 
tain half  a  dozen  coins  of  the  kind  you  intend  to 
use.  This  box  should  be  enamelled  white  and 
have  an  opening  in  one  side  large  enough  for 
the  coins  to  pass  through.  A  common  pill-box 
would  answer  the  purpose,  but  a  metal  one  is 
preferable.  Place  a  little  wax  on  the  top  of  the 
box  and  leave  it,  with  the  plate,  on  a  table  at 
the  rear  of  the  stage.  Borrow  a  silk  hat,  which 
leave  on  your  table.  Then  obtain  the  loan  of 
six  marked  coins,  which  you  change  for  six  of 
your  own,  as  you  go  back  to  the  stage.     Drop 


44  /IBagtc 

the  latter  ccins  into  a  tumbler,  or  lay  them  iu 
some  other  conspicuous  position  on  the  table, 
and  go  to  the  rear  of  the  stage  for  the  plate. 
Introduce  the  marked  coins  into  the  box,  and 
attach  it  by  means  of  the  wax  to  the  under  side 
of  the  plate.  Come  forward,  and  having  shown 
the  hat  to  be  quite  empty,  place  the  plate  over 
it,  being  careful  to  note  the  position  of  the  hole 
in  the  side  of  the  box. 

You  now  take  the  coins  from  the  glass  and 
appear  to  place  them  in  the  left  hand,  really 
palming  them  in  the  right,  which  forthwith 
drops  them  into  a  little  box  containing  sawdust 
placed  on  the  servante.  The  coins  are  retained 
in  the  right  hand  by  a  slight  contraction  of  the 
fingers,  as  in  "The  Invisible  Flight."  They 
should  be  held  in  the  hand  at  the  base  of  the 
thumb  and  jerked  into  position  in  the  act  of 
apparently  passing  them  from  one  hand  to  the 
other.  The  pass  called  "Le  Tourniquet"  is  a 
better  one  for  a  number  of  coins.  The  noise 
of  the  coins  as  they  fall  into  the  hand  is  quite 
natural,  as  it  would  be  almost  impossible  •  to 
actually  take  them  in  silence.  Now  pick  up 
the  hat  with  the  right  hand,  holding  it  at  arm's 
length ;  vanish  the  money  from  the  left  hand  in 
the  usual  way,  at  the  same  time  tilting  the  hat 


C:ricft0  witb  Coins  45 

slightly  in  the  right  direction,  when  the  coins 
will  be  heard  to  fall  inside. 

To  Ya:n^ish  a  Marked  Coin  from  a  Tum- 
bler A^D  Cause  it  to  appear  ix  a  Small 
Box,  WRAPPED  IX  Paper,  in  the  Centre  of 
A  Large  Ball  of  Wool. — For 
this  very  surprising  trick  you  will 
require  to  make  the  following 
preparations : — Procure  a  tumbler 
having  a  slit  cut  flush  with,  and 
parallel  to,  the  bottom,  which 
should  be  flat.  The  opening  should 
be  just  large  enough  to  allow  a 
half  dollar  dropped  into  the  turn-  _.    ^ 

,,  ^         -.  -^  ^         ,       .  Fig.  8.— Prepared 

bier    to   slip    through    mto   your        Tumbler 
hand.     (See  Fig.  8.) 

Obtain  a  small  metal  box  large  enough  to  take 
the  coin  easily,  also  a  flat  tin  tube  about  three 
inches  long  and  just  wide  enough  for  the  half 
dollar  to  slide  through  it.  Place  one  end  of  this 
tube  inside  the  box  and  close  the  lid  on  it,  keep- 
ing it  in  position  by  passing  an  elastic  band  over 
the  box.  You  now  wrap  the  box  in  paper  and 
wind  a  quantity  of  wool  round  it  until  you  get  a 
large  ball  with  the  end  of  the  tube  projecting 
about  one  inch.     Place  the  ball  thus  prepared 


46  /BSagic 

on  a  table  at  the  rear  of  the  stage  and  you  are 
ready  to  perform. 

Show  the  tumbler,  and  draw  attention  to  the 
fact  that  it  is  an  ordinar}^  one  by  filling  it  with 
Avater  from  a  jug,  which  can  be  done  by  placing 
the  forefinger  round  the  slit.  Eeturn  the  water 
to  the  jug  and  borrow  a  half  dollar,  which  has 
been  marked  by  the  owner,  allowing  him  to 
actually  drop  it  into  the  glass.  Cover  the  tum- 
bler with  a  handkerchief,  shaking  it  continually 
to  prove  that  the  coin  is  still  there,  and  then 
place  it  down  on  your  table,  securing  the  coin 
through  the  slit  as  you  do  so.  Going  to  the 
back  of  the  stage  for  the  ball  of  wool,  you  insert 
the  coin  into  the  tube  and  withdraw  the  latter, 
when  the  action  of  the  elastic  band  closes  the  box. 
Bring  the  ball  forward  in  a  large  glass  basin  and 
have  the  wool  unwound,  disclosing  the  box ;  on  this 
being  opened  the  marked  coin  will  be  found  within. 

To  Vanish  a  JSTumber  of  Coins  from  a 
Plate  in  a  Sheet  of  Flame. — Place  a  tea- 
plate  near  the  rear  edge  of  jour  table,  and  a 
sheet  of  "  flash "  paper,  large  enough  to  cover 
the  plate,  in  front  of  it.  You  must  also  have  an- 
other plate  on  the  servante  and  you  are  then 
ready  to  commence. 


Ux\c\{6  witb  Coins  47 

After  performing  any  trick  in  Avhich  a  number 
of  coins  have  been  used,  throw  them  on  the  plate, 
carelessly  dropping  several  on  the  table.  Take 
up  the  plate  in  one  hand  and  the  piece  of  paper 
in  the  other,  and  holding  the  plate  just  behind 
the  table,  and  over  that  on  the  servante,  appar- 
ently sweep  the  loose  coins  on  to  the  plate  you 
are  holding,  really  letting  all  fall  on  the  hidden 
one,  under  cover  of  the  paper,  which  you  imme- 
diately place  over  the  plate  in  your  hand. 

Every  one  will  now  suppose  the  money  to  be 
on  the  plate  which,  with  studied  carelessness, 
you  bring  forward  just  over  the  flame  of  a  candle 
burning  on  the  table.  The  paper  ignites  and  dis- 
appears in  a  sheet  of  flame,  and  the  plate  is 
found  empty. 

PROGRAM:yrE  and  Coin.— The  effect  of  this 
experiment,  which  is  an  improvement  on  the  old 
"  programme  and  ring  "  trick,  as  no  stage  assist- 
ant is  required,  is  as  follows  :■ — The  performer 
borrows  a  marked  half  dollar  from  a  stranger  in 
the  audience,  immediately  handing  it  to  a  gen- 
tleman to  examine  the  mark,  date,  and  other 
items.  While  this  is  being  done  the  performer 
obtains  the  loan  of  a  programme,  which  he  tears 
in  half,  laying  one  half  on  his  table.     The  gen- 


48  /HbafllC 

tleman  is  now  requested  to  place  the  coin  in  the 
half  of  the  programme  held  by  the  performer, 
who  wraps  it  up  and  gives  it  to  him  to  hold. 
He  now  goes  to  his  table  for  a  piece  of  sealing- 
wax,  which  he  passes  several  times  over  the 
packet  held  by  the  gentleman,  when  immediately 
it  is  found  transformed  into  a  packet  of  three 
envelopes,  made  from  the  programme,  alj 
gummed  and  sealed  one  inside  the  other,  with 
the  marked  half  dollar  in  the  smallest  one.  As 
the  gentleman  cannot  see  how  it  is  done  the  per- 
former repeats  the  trick  for  his  benefit  with  the 
other  half  of  the  programme,  but  the  result  is 
the  same.  This  time,  however,  the  gentleman 
is  requested  to  take  the  last  envelope  to  the 
owner  of  the  mone}^,  that  he  may  open  it  and 
satisfy  himself  that  it  actually  contains  his  own 
coin. 

The  six  envelopes  are  now  rolled  up  and  given 
to  the  gentleman  to  hand  to  the  lady,  to  keep  as 
a  souvenir  of  the  entertainment,  but  before  he 
has  proceeded  far  the  performer  tells  him  he  has 
dropped  one  of  them  (he  has  not  really  done  so), 
and,  failing  to  find  it,  he  very  naturally  begins 
to  count  those  in  his  hand,  when  he  discovers  to 
his  astonishment  that  he  holds  the  programme 
restored. 


G^ricfts  witb  Coins 


49 


Explanation. — After  the  performer  has  bor- 
rowed the  half  dollar,  in  the  act  of  handing  it  to 
the  gentleman  for  examination,  he  adroitly 
cbang-es  it  for  one  of  his  own  bearino^  the  mark 
of  a  cross,  which  mark  is  of  course  taken  for  that 
of  the  owner  of  the  coin.  The  performer  now 
asks  for  the  loan  of  a 
programme,  and  while 
one  is  being  procured 
he  drops  the  actual  bor- 
rowed coin  into  the 
smallest  of  the  three 
envelopes  which  are 
placed  one  inside  the 
other  in  the  right  pro- 
fonde.  To  facilitate 
the  introduction  of  the 
coin  a  tin  tube,  with  a 
rather  wide  mouth,  just 
large  enough  for  the 
coin  to  pass  through,  is 
placed  in  the  smallest 
envelope.  After  the 
coin  has  been  intro- 
duced this  tube  is  withdrawn,  left  in  the  pocket, 
and  the  envelopes  closed. 

The  flaps  of  the  envelopes  are  sealed  with  w^ax 


Fig.  9.— Packet  of  Three 
Envelopes 


50  /Hbacjtc 

beforehand  and  prepared  with  the  best  gum  arable, 
which  is  allowed  to  dry  hard.  They  are  moist- 
ened with  the  tongue  just  as  you  are  about  to 
commence  the  trick,  and  if  cut  as  in  Fig.  9,  can 
be  closed  all  together  while  in  the  pocket.  This 
packet  is  laid  on  the  table  under  cover  of  the 
half  of  the  programme  used  in  the  second  stage 
of  the  trick. 

To  commence  the  trick  the  performer  palms  a 
similar  packet  of  envelopes  containing  another 
half  dollar  marked  in  exactly  the  same  way  as 
the  one  he  handed  to  the  gentleman,  and,  it  is 
hardly  necessary  to  remark,  being  of  the  same 
appearance,  and  bearing  the  same  date.  When 
rolling  up  the  programme  the  performer  retains 
it  and  hands  the  gentleman  the  packet  of  envel- 
opes ;  and  w^hen  going  to  his  table  for  the  wax 
leaves  the  half  of  the  programme  and  the  half 
dollar  thereon.  By  the  time  the  first  coin  is 
taken  from  the  envelopes  the  packet  containing 
the  actual  borrowed  coin  will  be  dry  and  ready 
for  use. 

The  remaining  portion  of  the  trick  will  now 
be  understood.  When  the  performer  goes  for 
the  other  half  of  the  programme  he  takes  the 
packet  of  envelopes  with  it  and  substitutes  it  as 
before,   and    the    trick    proceeds   as   described. 


^rtcks  with  Coins  51 

When  collecting  the  six  envelopes  for  the  final 
effect  the  performer  palms  a  duplicate  programme 
which  has  been  lying  on  his  table  behind  some 
object,  and  substitutes  this  as  before  when  handing 
the  gentleman  the  envelopes  to  take  to  the  lady. 

Filtrated  Cons'. — Borrow  a  half  dollar  from 
one  of  the  company,  wrap  it  up  in  a  handker- 
chief, and  request  some  one  to  hold  it  over  a 
glass  of  water  on  the  table.  Hey,  presto  I  The 
coin  is  dropped  into  the  glass  and  heard  to 
jingle.  When  the  handkerchief  is  removed  the 
half  dollar  has  disappeared,  having  been  appar- 
ently dissolved  in  the  water.  Placing  your  hand 
under  the  table  \^ou  produce  the  coin,  which  you 
declare  has  passed  through  the  glass  and  table- 
top.  This  exceedingly  effective  trick  is  accom- 
plished by  means  of  a  glass  disk  of  the  same 
diameter  as  a  half  dollar.  The  modus  operandi 
is  as  follows :  Borrow  a  half  dollar  and  while 
holding  it  in  your  hand  throw  a  handkerchief 
over  it.  Under  cover  of  the  handkerchief  ex- 
change the  coin  for  the  glass  disk  which  you  have 
concealed  in  your  palm.  Xow  get  some  one  to 
hold  the  disk  b}^  its  edges  through  the  handker- 
chief, directly  over  the  glass  of  water.  Pro- 
nounce your  magical  phrase,  and  command  your 


52  AbaQfc 

volunteer  assistant  to  drop  the  half  dollar  (disk) 
into  the  glass.  The  disk  will  be  precipitated 
into  the  glass  with  a  jingle  that  exactly  simulates 
the  falling  of  a  genuine  coin,  and  will  adhere  to 
the  bottom  of  the  glass,  where  it  will  not  be 
seen.  You  may  even  pour  out  the  water,  buu 
the  disk,  thanks  to  the  power  of  suction,  will  re- 
main in  the  same  position,  firmly  attached  to  the 
drinking  glass,  which  of  course  must  have  a  flat 
bottom.  A  ginger-ale  or  beer  glass  of  small 
diameter  comes  in  handy  for  this  capital  trick. 
After  sufficient  palaver,  the  genuine  half-dollar 
may  be  reproduced  from  under  the  table  or  from 
the  pocket  of  the  volunteer  assistant. 

The  Penetrating  Coin. — This  coin  trick 
may  be  performed  anywhere,  and  requires  no 
special  preparation.  A  borrowed  Derby  hat  is 
placed  upon  the  mouth  of  a  tumbler,  (Fig.  10). 
Three  half  dollars  are  now  borrowed  and  tossed 
into  the  hat,  whereupon  one  of  the  coins  is  seen 
to  penetrate  the  crown  of  the  hat,  and  drop 
visibly  and  audibly  into  the  tumbler  beneath.  It 
is  thus  explained.  In  the  act  of  placing  the  hat 
on  the  glass,  secretly  and  without  jingling,  slip  a 
coin  of  your  own  between  the  rim  of  the  glass 
and  the  hat.     The  weight  of  the  latter  wull  retain 


C^rfcfts  wltb  Coins 


53 


the  coin  in  position,  which  of  course  is  on  the 
side  of  the  hat  farthest  from  the  spectators.  The 
dropping  of  the  borrowed  coins  in  the  hat  wdll 
disturb  the  balance  of  the  secret  half-dollar,  caus- 
ing it  to  fall  into  the  tumbler.  It  is  hardly 
necessary  to  remind  the  student  that  the  fourth 
coin  must  be  gotten  rid  of  unbeknown  to  the 
audience,  otherwise  the 
effect  of  the  experiment 
will  be  destroyed.  In 
putting  the  hat  in  posi- 
tion two  hands  may  be 
used.  This  will  greatly 
facilitate  the  placing  of 
the  coin  on  the  rim 
of  the  tumbler.  You 
should  lay  stress  on  the 
fact  that  it  is  necessary 
to  get  the  hat  evenly 
on  the  glass.  As  simple 
as  this  trick  seems  in 
explanation,  it  is  never-      ^'^-  lO-P^^^^rating  Coin 

theless  wonderfully  illusive,  and  can  be  recom- 
mended to  the  amateur  as  Tvorthy  of  his  reper- 
toire, especially  for  the  parlor,  or  club  room. 

An  excellent  coin  trick,  to  be  used  in  conjunc- 
tion with  ihe  preceding  illusion,  is  the  following : 


54  /Iftagfc 

The  performer  shows  a  coin  and  forthwith  pro- 
ceeds to  pass  it  into  the  hat  by  way  of  the 
crown.  That  there  may  be  no  doubt  as  to  the 
actual  passing  of  the  coin  it  is  left  sticking  half 
way  through  the  hat ;  a  final  push  and  it  is  heard 
to  fall  inside.  The  coin  used  is  a  trick  one  con- 
structed as  follows :  A  groove  is  first  turned 
round  its  extreme  edge  deep  enough  to  conceal  a 
small  india-rubber  band.  It  is  next  cut  in  half 
across  its  diameter.  A  hole  is  drilled  in  the 
centre  of  one  half  in  which  is  inserted  a  needle 
point.  In  the  other  half  a  slot  is  cut  to  admit 
the  needle.  The  two  halves  are  now  placed  to- 
gether and  kept  in  position  by  passing  the  band 
round  the  groove  afore  mentioned.  (See  Fig.  11.) 
This  coin  has  a  distinct  advantage 
over  the  older  form  in  which  the 
one  half  only  was  used,  in  so  far 
that  it  may  at  the  outset  be 
shown  as  an  ordinary  coin. 
^  .  ,     When  fifivinff  the  final  push  it  is, 

Fi"".  11  --Trick  o  o  i  7 

"^   Coin  of  course,  withdrawn  and  palmed. 

Coin  in  the  Bottle. — With  a  coin  grooved 
and  prepared  as  above  and  cut  into  three  pieces, 
but  minus  the  needle  point,  the  amateur  can  per- 
form the  deceptive  trick  of  the  half-dollar  in  the 


(Triclis  witb  Coine 


55 


bottle.  You  first  borrow  a  half  dollar  from  a 
spectator,  and  secretly  exchange  it  for  your 
"  folding-coin."  Exhibit  the  bottle,  which  should 
be  of  clear  glass,  preferably,  and  demonstrate  the 
impossibility  of  passing  a  coin  into  its  neck. 
Then  grasp  the  mouth  of  the  bottle  in  the  man- 
ner depicted  in  Fig.  12,  the  coin  being  concealed 


Fiff.  12.— Coin  in  Bottle 


from  the  spectators  by  your  fingers.  Bend  the 
coin  and  insert  it  in  the  neck  of  the  bottle,  after 
which  give  the  mouth  of  the  bottle  a  violent 
blow  with  the  palm  of  the  hand.  The  coin  will 
enter  the  bottle,  and  expand  as  soon  as  it  passes 
the  neck.     You  may  now  pass  the  bottle  for  in- 


56  ^agit 

spection,  without  any  one  being  able  to  discover 
the  secret  of  the  trick.  A  clever  amateur  with 
the  aid  of  a  very  fine  metal  saw  and  a  file  can 
manufacture  the  folding  coin  for  himself. 


CHAPTEE  TV 

TEICKS   WITH   HA:XDKERCHIEFS 

Peregeinations  of  a  ha^^dkerchief.— For 
the  following  series  of  experiments  you  will  re- 
quire three  fifteen  inch  silk  handkerchiefs  (the 
best  material  for  making  these  is  fine  quality 
sarcenet),  an  ordinary  small  sliding  match-box,  a 
candle  in  a  candlestick,  and  a  conjuring  wand  ; 
also  a  false  finger  and  a  conjuring  pistol,  here- 
after described. 

You  prepare  for  the  series  of  tricks  by  rolling 
up  one  of  the  handkerchiefs  very  small  and  push- 
ing it  into  the  back  of  the  match-box,  Avhich  you 
open  about  one  inch  for  the  purpose ;  another  is 
rolled  up  and  placed  behind  the  collar  on  the  left 
hand  side  of  the  neck;  and  tlie  last  is  loaded  into 
the  false  finger  and  placed  in  the  right  hand 
trousers  pocket.  You  are  now  ready  to  com- 
mence. 

Handkerchief  and  Candle. — "  Ladies  and 
Gentlemen,   the  following  experiment  w^as  sug- 

57 


58  ^agic 

gestecl  to  me  at  the  age  of  twelve  while  studying 
chemistry.  I  then  learned  that  all  matter  was 
indestructible.  Proof  of  this,  as  you  are  well 
aw^are,  is  afforded  with  an  ordinary  candle.  You 
may  light  the  candle  at  one  end  and  let  it  burn 
to  the  other,  but  you  do  not  destroy  the  matter 
of  which  it  is  composed.  What  really  takes  place 
is  the  formation  of  new  substances,  as  hydrogen, 
carbon,  water,  etc.,  which  any  of  the  text-books 
on  chemistry  will  explain.  I  will,  however,  give 
you  one  striking  illustration  :  " — 

Pick  up  the  match-box  and  light  the  candle ; 
then  close  the  box,  pushing  the  handkerchief  into 
the  right  hand,  and  throw  the  box  down  on  the 
table.  Take  the  candle  from  the  candle-stick  and 
place  it  in  the  right  h^nd,  which  masks  the  pres- 
ence of  the  handkerchief.  You  now  appear  to 
take  something  from  the  flame  of  the  candle  w^ith 
the  left  hand,  which  yon  close  as  if  it  really  con- 
tained an  article.  Open  the  hand  slowly,  look- 
ing surprised  to  find  you  have  failed,  and  re- 
mark : — "  Well — ^really  I  cannot  understand  this. 
I  am  generally  successful  w^ith  this  trick.  Oh  !  I 
know  what  is  the  matter.  You  see,  I  am  using 
the  left  hand  ;  if  you  do  things  left-handed  they 
cannot  possibly  be  right.  I  will  try  the  right 
band."     Saying  this,  you  place  the  candle  in  the 


XTricI;?  vvltb  ManDftcrcbiets  59 

left  band  and  immediately  produce  the  handker- 
chief from  the  flame  with  the  right,  closing  the 
hand  as  before.  It  now  only  remains  for  you  to 
open  the  hand  and  develop  the  silk  slowly. 

To  Ya^'ish  a  Handkerchief  axd  Produce 
IT  FROM  YOUR  CoLLAR. — Place  your  wand  under 
your  left  arm.  Take  the  handkerchief  and  roll 
it  up  small,  using  both  hands.  Affect  to  place 
the  handkerchief  in  the  left  hand,  really  palming 
it  in  the  right,  and  take  your  w^and  from  under 
the  arm  in  the  same  hand.  Yanish  the  handker- 
chief from  the  left  hand,  and  take  the  one  from 
your  collar,  immediately  placing  it  in  the  right 
hand  to  mask  the  presence  of  the  one  already 
there,  and  lay  the  wand  down  on  the  table. 

To  Pass  a  Haxdkerchief  ixto  the  Pocket 
OF  A  Spectator. — Obtain  the  assistance  of  a 
young  gentleman  from  the  audience,  and  ask 
him  to  let  you  have  the  loan  of  the  outside  breast 
pocket  of  his  coat.  Much  fun  is  generally  caused 
by  his  removing  his  own  pocket  handkerchief 
and  sundry  other  curious  articles.  Place  both 
handkerchiefs,  which  have  all  the  time  remained 
in  the  right  hand,  in  his  pocket  (you,  of  course, 
are  supposed  to  be  using  one  only),  and  stand  as 


60  /Bbagfc 

far  away  as  the  limits  of  the  stage  will  allo\r, 
and  say  : — "  E'ow,  sir,  do  you  think  it  possible 
for  me  to  remove  the  handkerchief  from  your 
pocket  without  coming  a  step  nearer  to  3^ou  than 
I  am  at  present."  He  will  probably  look  con- 
fused, and  hardly  know  whether  to  say  Yes  or 
No.  Whatever  he  may  say  is  all  the  same  to 
you,  and  you  remark : — "  My  dear  sir,  do  not 
look  like  that ;  your  face  is  calculated  to  upset 
me  altogether.  I  scarcely  know  what  I  am  do- 
ing. What  I  really  intended  to  do  was  to  pass 
the  handkerchief  from  my  hands  into  your 
pocket."  You  now  take  the  handkerchief  from 
his  pocket,  where,  unknown  to  the  spectators 
and  probably  the  gentleman  himself,  one  still  re- 
mains. You  will  now  vanish  the  handkerchief 
as  in  the  last  trick,  and  let  the  gentleman  take 
the  one  from  his  pocket,  which  will  seem  to  be 
the  same.  Take  the  handkerchief  from  him,  place 
it  in  the  right  hand,  which  again  conceals  the  one 
in  the  palm,  and  lay  the  wand  down  on  the 
table. 

To  Fire  a  Handkerchief  its^to  a  Geis^tle- 
man's  Hair. — For  the  purpose  of  this  trick  you 
wnll  have  to  make  use  of  what  is  known  as  a  con- 
juring  pistol,  which,  being   in  constant  use  in 


ITrlcfts  witb  "Iban^tiercbiefs  61 

magical  surprises,  I  will  describe.  It  consists  of 
an  ordinary  pistol  fitted  \Yith  a  conical  tin  tube 
eight  inches  long.  The  mouth  of  this  tube  is 
about  two  inches  in  diameter  and  is  supplied  with 
a  tin  cup  one  and  one-half  inches  deep,  having 
its  outer  edge  turned  over  all  round  so  as  to 
afford  a  ready  grip  to  the  palm.  The  conical 
tube  is  fitted  with  an  inner  tube  to  keep  it  firm 
on  the  barrel  of  the  pistol.     (See  Fig.  13.) 

Taking  up  the  pistol,  you  place  the  two  hand> 
kerchiefs,  which  look  like  one,  in  the  cup ;  push 


Fig.  13. — Conjuring  Pistol 

them  well  down  and  remark  : — ''  I  shall  now  fire 
direct  at  the  gentleman's  head,  and  after  the  shot 
the  handkerchief  will  be  found  firmly  embedded 
in  his  hair,  and  will,  not  unlikely,  be  seen  pro- 
truding from  each  of  his  ears.  It  just  depends 
on  the  force  of  the  shot,  you  know,  and  I  need 
hardly  say  I  loaded  the  pistol  myself,  and  am 
totally  ignorant  of  fire-arms.  Are  you  ready, 
sir  ?  then  good-bye  !  "     Place  the  •'  muzzle  "  of 


62  /IBaQic 

the  pistol  in  the  left  hand  while  you  shake  hands 
Avith  the  gentleman.  In  taking  the  pistol  back 
into  the  right  hand  to  fire  it,  you  leave  the  cup 
behind  in  the  left  hand,  and  at  the  instant  you 
pull  the  trigger,  you  drop  it  into  your  pocket  on 
the  left  side.  When  discharging  the  pistol  j^ou 
will,  of  course,  stand  with  your  right  side  to  the 
audience. 

You  now  ask  the  gentleman  to  take  the  hand- 
kerchief from  his  hair,  telling  him  it  is  just 
behind  his  left  ear  (of  course  it  is  not  really 
there) ;  and  w^hile  he  is  trying  to  find  it  you 
stand  with  your  hands  in  your  trousers  pockets, 
telling  him  to  make  haste,  you  cannot  wait  all 
the  evening,  etc.  When  he  has  tried  some  time 
and  failed  to  find  it  you  take  your  hands  from 
your  pockets,  having  got  the  false  finger  into 
position  between  the  second  and  third  fingers. 
Showing  the  hands  back  and  front  (the  addition 
of  an  extra  finger  will  not  be  noticed),  you  pass 
them  several  times  over  the  head  of  the  gentle- 
man, then  lowering  the  hands  on  to  his  head  you 
detach  the  finger  and  draw  out  the  handkerchief. 
The  false  finger  is  laid  dow^n  on  the  table  under 
cover  of  the  handkerchief. 

The  finger  is  made  of  thin  spun  brass  painted 
flesh  color ;  it  is  quite  hollow  from  tip  to  root, 


tTricks  wltb  IbanDkercbiets  63 

and  is  shaped  for  fitting  between  the  second  and 
third  fingers,  (Fig.  14).  It  can  be  used  in  many 
tricks  with  handkerchiefs,  and  is  really  an  indis- 
pensable accessory. 

This  concludes  the  series  alluded  to  in  the 
beginning  of  this  chapter.  I  will  now  describe 
a  number  of  handkerchief  tricks  complete  i^ 
themselves. 


Fig.  14. — False  Finger 

The  Handkerchief  Cabinet. — This  very 
useful  piece  of  apparatus  should  be  in  the 
repertoire  of  every  amateur  magician,  as  it  is 
available  for  producing,  changing,  or  vanishing  a 
handkerchief.  Its  secret  lies  in  the  fact  that  it 
contains  two  drawers,  bottom  to  bottom,  the 
lower  one  being  hidden  by  a  sliding  panel. 
When  standing  on  the  table  the  top  drawer  only 
is  visible,  and  the  cabinet  looks  the  picture  of 
innocenc-e,  but  if  turned  over  and  stood  on  its 
opposite  end,  the  sliding  panel  falls,  exposing  the 
hidden  drawer,  and  hiding  that  which  for  the 
time   being   is    at    the  bottom,    (Fig.  15).     The 


64 


^agic 


cabinet  is  about  two  inches  square  by  four  inches 
high. 

If  required  for  production  you  proceed  as 
follows : — Having  placed  a  silk  handkerchief  in 
the  concealed  drawer,  introduce  the  cabinet,  take 
out  the  empty  drawer,  and  give  it  for  exami- 
nation.    Eeplace  the  drawer,  secretly  turn  over 

the  cabinet,  and  place  it 
on  your  table.  You  now 
go  through  any  form  of 
incantation  you  please, 
open  the  drawer  and  take 
out  the  handkerchief. 

If  you  desire  to  vanish 
a  handkerchief  you  will 
have  it  placed  in  the 
drawer  by  one  of  the 
spectators,  and  while  go- 
ing to  the  table  turn  over 
the  box.  When  the 
drawer  is  opened  the 
handkerchief  will  have  disappeared. 

Should  you  wish  to  change  one  handkerchief 
for  another  you  will  beforehand  conceal  say  a  red 
handkerchief  in  the  cabinet ;  then  taking  a  white 
one,  have  it  deposited  in  the  upper  drawer,  turn 
over  the  cabinet  as   before,  pull  out  the  now 


Fig.  15. — Handkerchief 
Cabinet 


Ztic}\Q  witb  1banO??ercblet0  65 

uppermost  drawer,  and  produce  the  red  handker- 
chief. 

From  the  foregoing  description  it  will  be 
obvious  that  the  cabinet  is  capable  of  being  used 
in  conjunction  with  many  tricks. 

The  Handkeechief  Yai^isher. — One  of  the 
best  appliances  for  causing  the  disappearance  of 
a  handkerchief  may  be  made  from  a  small 
celluloid  ball  as  follows  : — Obtain  a  ball  one  and 
three-fourth  inches  in  diam^eter,  which  will  take 
three  small  silk  handkerchiefs  if  desired,  and  cut 
a  one  inch  hole  in  any  part  of  its  surface.  On 
the  side  of  the  ball  opposite  the  opening  fix  a 
loop  of  flesh-colored  thread,  long  enough  to  pass 
easily  over  the  thumb,  and  to  suspend  the  ball  on 
the  back  of  the  hand  so  that  it  does  not  hang  too 
low. 

When  required  for  use  the  ball  is  taken  up 
secretly  under  cover  of  the  handkerchief,  and  the 
thumb  of  the  left  hand  is  passed  through  the  loop. 
Then,  while  appearing  to  roll  up  the  handker- 
chief, it  is  worked  through  the  opening  into  the 
ball,  which  is  instantly  pushed  over  to  the  back 
of  the  left  hand  under  cover  of  the  right.  The 
palms  of  the  hands  are  now  shown  empty,  when 
the  handkerchief   will   seem   to   have   vanished 


66  yiRaaic 

entirely.     When  using  the  vanisher  you  will,  of 
course,  stand  with  your  right  side  to  the  audience. 
It  is  well  to  be  provided  with  two  or  three  of 
these  accessories,  in  different  sizes. 

Magical  Peoduction  of  Handkerchiefs. 
— The  performer  comes  on  the  stage  showing 
both  hands  empty,  back  and  front.  He  then 
pulls  up  both  sleeves  and  immediately  produces  a 
white  silk  handkerchief,  about  eighteen  inches 
square,  which  he  passes  for  examination.  Then 
by  simply  shaking  the  handkerchief  he  obtains 
from  it  about  half  a  dozen  other  colored  ones 
about  fifteen  inches  square.  The  colored  hand- 
kerchiefs are  then  caused  to  vanish  by  simply 
rolling  them  up  in  the  hands,  being  immediately 
afterwards  reproduced,  all  tied  together  by  the 
corners,  from  the  white  one. 

The  necessary  preparations  for  the  trick  are  as 
follows : — A  slit  one  half  inch  long  is  made  in 
the  seam  of  the  trousers  at  the  right  knee,  and 
two  of  the  colored  handkerchiefs,  each  having  a 
minute  piece  of  blackened  cork  tied  to  one  cor- 
ner, are  pushed  into  this  slit,  the  corks  being  left 
protruding  to  enable  the  performer  to  instantly 
draw  them  out.  Two  handkerchiefs  of  different 
colors  are  placed  in  the  pochette  on  the  left  side. 


trrfcf?6  wttb  "fcanD^^ercblcts  67 

A  fifth  handkerchief,  also  prepared  with  a  piece 
of  cork,  is  placed  in  the  front  of  the  vest,  the 
cork  protruding  through  the  watch-chain  hole. 
It  may  seem  impossible,  but  the  silk  may  be 
drawn  through  this  hole  very  rapidly,  and  quite 
easily,  as  will  be  found  by  experiment.  A  sixth 
handkerchief  is  contained  in  the  false  finger 
(previously  described),  Avhich  should  be  placed  in 
the  right  hand  trousers  pocket. 

As  the  handkerchiefs  are  produced  they  are 
thrown  over  the  back  of  a  chair  fitted  with  a 
network  servante  (Fig.  1,  page  IS),  behind  the  top 
rail  of  which  are  suspended  two  vanishers  of  the 
kind  already  described ;  also  the  ball  of  six 
duplicate  handkerchiefs  all  tied  together  by  the 
corners. 

The  trick  is  worked  as  follows : — The  white 
handkerchief  is  rolled  up  into  a  small  compass 
and  tied  with  a  piece  of  silk  just  strong  enough 
to  hold  it.  It  is  then  placed  in  the  hollow  of  the 
arm  at  the  elbow,  the  arm  being  bent  slightly  so 
as  to  retain  it  in  that  position.  When  pulling 
back  the  sleeves  the  performer  secretly  obtains 
possession  of  the  handkerchief,  breaks  the  thread, 
and  develops  it  slowly. 

Having  had  the  handkerchief  examined,  and 
while  holding  it  by  two  corners,  spread  it  over 


68  /Bbaglc 

the  knee  as  if  drawing  attention  to  the  fact  that 
it  is  empty.  Then,  in  the  act  of  raising  it,  shak- 
ing it  the  whole  of  the  time,  pull  the  two  colored 
ones  through  the  seams,  and  while  developing 
these  take  the  two  from  the  pochette  on  the  left 
side.  Place  the  white  handkerchief  in  the  left 
hand  to  conceal  the  colored  ones,  and  throw  the 
other  two  over  the  back  of  the  chair.  Now  pro- 
duce the  two  in  the  left  hand  in  a  similar  man- 
ner, and  throw  them  over  the  chair  with  the  two 
already  there.  Then  take  the  w^hite  handker- 
chief by  two  corners,  and  while  turning  it  round 
to  show  both  sides,  seize  the  piece  of  cork  at  the 
buttonhole  of  the  vest,  and  produce  the  fifth 
handkerchief,  throwing  both  over  the  back  of  the 
chair. 

For  the  production  of  the  last  handkerchief  a 
little  patter  is  desirable.  "  Ladies  and  Gentle- 
men, I  dare  say  you  w^ill  wonder  where  I  get 
these  handkerchiefs.  The  other  evening  I  over- 
heard two  gentlemen  conversing  in  the  boxes. 
One  said  to  the  other,  '  Don't  you  see  where  he 
gets  those  handkerchiefs  ?  They  came  down  his 
sleeve.'  The  other  said,  '  Oh !  no,  they  don't. 
He  takes  them  from  his  pockets,  for  I  saw  him.'  " 
Saying  this  you  thrust  the  hands  into  the  pockets 
by  way  of  illustration,  and  fix  the  finger  in  posi- 


^rfcfts  H^ftb  IbanDftcrcblcts  69 

tion.  Then  withdraw  the  hands,  placing  the 
palms  together,  and  continue  : — "  ^o\v,  I  wish  to 
prove  to  you  that  both  of  these  gentlemen  were 
wrong.  If  the  handkerchief  comes  down  the 
sleeve  you  will  be  sure  to  see  it.  If  it  comes 
from  the  pocket  you  will  also  see  it.  My  hands 
are  perfectly  empty"  (show  hands).  ''^o\v 
watch  closely  and  see  if  you  can  detect  me." 
You  now  bring  the  hands  together,  reverse  the 
finger,  and  shake  out  the  handkerchief;  and 
when  laying  it  with  the  others  on  the  chair,  drop 
the  finger  into  the  servante. 

To  cause  the  disappearance  of  the  handker- 
chiefs proceed  as  follows  : — Take  up  three  of  the 
colored  ones,  at  the  same  time  secretly  obtaining 
one  of  the  vanishers,  and,  with  an  up  and  down 
motion  of  the  hands  work  them  into  the  ball. 
Then  pass  the  ball  to  the  back  of  the  hand,  and 
show  the  palms  empty. 

When  taking  up  the  other  three  handkerchiefs 
drop  the  vanisher  into  the  servante,  secure  the 
other  one,  and  proceed  as  before.  Then  take  up 
the  white  handkerchief,  again  disposing  of  the 
vanisher  into  the  servante,  and  securing  the  ball 
of  six  tied  together.  Finally  wave  the  white 
handkerchief  up  and  down,  and  gradually  worl 
out  the  colored  ones,  one  after  another. 


70 


ISSnQic 


COLOR-CHANGIISrG       HANDKERCHIEFS.  —  The 

effect  of  this  trick,  which  is  one  of  the  best  in 
the  whole  category  of  sleight  of  hand  feats,  is  as 
follows  : — Three  white  handkerchiefs  are  pushed 
into  a  paper  tube,  and  as  they  come  out  at  the 
opposite  end  they  are  seen  to  be  dyed  respect- 
ively red,  yellow,  and  green.  The  paper  is  then 
Unrolled  and  torn  in  half,  when  the  white  hand- 
kerchiefs are  found  to  have  vanished  entirely. 

To  perform 
the  trick  you 
must  be  pro- 
vided with  a 
piece  of  draw- 
ing-paper ten 
inches  by  eight 
inches  (a  leaf 
from  a  plain 
drawing- book 
will  answer  the 
purpose  admir- 
ably), three 
very  fine  white 
silk  handkerchiefs 
three  colored  ones  of  the  same  size  and  texture. 
The  last  of  the  colored  handkerchiefs  to  ap- 
pear at  the  end  of  the  tube  is  prepared  as  fol- 


Fig.  16. — Handkerchief  Fitted  with 
Brass  Tube 

fifteen    inches    square,   and 


tTrfcfts  vvitb  IbanOftercbiets  71 

lows  : — Take  a  piece  of  one  and  one  quarter 
inches  brass  tubing,  three  inches  long,  and  insert 
it  in  the  middle  of  one  side  of  the  handkerchief 
(Fig.  16),  by  covering  it  with  a  piece  of  silk  of 
the  same  color.  This  piece  of  silk  is  extended  be- 
yond the  tube,  as  shown,  to  form  a  kind  of  pocket. 

To  prepare  for  the  trick  push  the  body  of  the 
handkerchief  into  the  brass  tube  at  the  end  a,  and 
the  other  two  colored  ones  on  the  top  of  it.  The 
piece  of  paper  is  laid  on  the  table  with  the  tube 
of  handkerchiefs  under  its  rear  edge.  The  three 
white  handkerchiefs  are  then  laid  across  the  paper. 

To  perform  the  trick  stand  on  the  left  of  your 
table  and  take  up  the  paper  with  the  right  hand, 
the  left  hand  keeping  the  white  handkerchiefs  in 
front  of  the  tube  of  colored  ones.  Draw  atten- 
tion to  the  fact  that  the  paper  is  unprepared,  then 
lay  it  on  the  table  in  such  a  manner  that  it  again 
conceals  the  tube,  and  take  up  the  white  hand- 
kerchiefs. Show  the  handkerchiefs,  remarking 
that  they  are  of  the  ordinary  description,  and 
then  lay  them  on  the  table.  Pick  up  the  paper, 
and  with  it  the  colored  handkerchiefs,  which  are 
held  behind  it  with  the  thumb  of  the  right  hand. 

You  now  form  the  paper  into  a  tube  round  the 
colored  handkerchiefs  and  hold  it  in  the  left 
hand.     Pick  up  the  white  handkerchiefs  one  at  a 


72  ^aa(c 

time,  place  them  in  the  left  hand  with  the  tube, 
and  remark : — "  I  will  now  pass  the  white  hand- 
kerchiefs through  the  cylinder,  first,  however, 
showing  you  that  it  is  perfectly  empty."  As  you 
say  this  you  take  the  handkerchiefs  in  the  right 
hand,  and  as  if  to  illustrate  what  you  say,  place 
them  near  the  mouth  of  the  tube.  This  gives 
you  the  opportunity  of  dropping  the  colored 
handkerchiefs  into  the  white  ones.  The  cylinder 
is  now  shown  empty,  and  the  white  handkerchiefs 
are  pushed  into  one  end  of  it ;  care  being  taken 
to  introduce  the  colored  ones  first,  and  to  keep 
them  out  of  sight  of  the  audience.  You  now 
grasp  the  brass  tube  tightly  through  the  paper 
and  press  the  white  handkerchiefs  into  it.  This, 
of  course,  pushes  out  the  colored  handkerchiefs, 
which  appear  at  the  other  end  of  the  cylinder, 
the  white  ones  being  concealed  in  the  body  of  the 
last  colored  one. 

When  performing  the  trick  it  is  necessary  to 
be  careful  to  insert  the  right  end  of  the  brass 
tube  into  the  paper  cylinder,  otherwise  the  experi- 
ment would  not  be  successful. 

The  following  is  the  method  of  presenting  the 
above  trick,  with  appropriate  "  patter  "  : 

"For  the  purpose  of  my  next  experiment  I 
shall  make  use  of  this  square-looking  piece  of 


Crlcf^s  witb  Iban^ftercbfets  73 

paper,  in  which  you  can  see  there  is  nothing  con- 
cealed, not  even  a  trap-door.  Well,  if  there  was 
anything  concealed  from  your  view,  you  would 
be  sure  to  see  it."  Laying  the  paper  down  and 
taking  up  the  handkerchiefs,  you  continue,  "  In 
addition  to  the  paper,  I  propose  to  make  use  of 
these  three  pieces  of  silk,  or  silk  in  pieces,  com- 
monly known  as  art  white  squares.  I  am  afraid, 
however,  some  people  would  prefer  to  call  them 
subdued  white ;  possibly  dirty  white,  if  it  were 
not  for  the  liberty  of  the  thing,  but  I  know  they 
call  them  art  white  in  the  stores,  because  I  sup- 
pose they  find  they  sell  better." 

Laying  the  handkerchiefs  down,  you  take  up  the 
paper  with  the  tube  behind  it,  and,  prior  to  form- 
ing the  cylinder,  remark  : — "  This  experiment 
was  suggested  to  me  while  in  England  traveling 
on  the  underground  railway.  I  always  travel  by 
that  line  when  possible,  being  fond  of  scenery. 
One  day  I  had  occasion  to  take  a  return  single 
from  Portland  Road  to  King's  Cross  ;  and  while 
passing  through  those  tunnels  I  noticed  that  my 
linen  changed  color  considerably,  w^hich  sug- 
gested to  me  this  illustration.  With  the  piece  of 
paper  I  will  form  a  kind  of  tube  or  tunnel  to  rep- 
resent for  the  time  being  one  of  those  cavities  on 
the  underground  railway." 


74  /Bbagfc 

Make  the  tube  and  continue  : — "  There  it  is,  as 
free  from  deception  as  I  am.  I  will  now  take  the 
handkerchiefs  "  (take  up  the  handkerchiefs  from 
the  table)  "and  pass  them  through  the  cylinder" 
ulrop  the  colored  handkerchiefs  into  the  white 
ones  and  show  the  tube  empty),  "  first,  however, 
showing  you  that  it  is  perfectly  empty.  Then, 
having  satisfied  you  that  there  are  no  trains  on 
the  line,  I  will  pass  the  handkerchiefs  through 
the  tunnel." 

As  the  colored  handkerchiefs  appear  at  the  op- 
posite end  of  the  tube,  remark  : — "  I  may  say  that 
I  have  been  getting  my  living  for  some  considera- 
ble time  by  conjuring.  You  will  now  notice  that 
I  am  beginning  to  dye  by  it." 

Mechanical  "Pull"  foe  Vanishing  a 
Handkerchief. — The  construction  of  this  con- 
trivance is  very  simple,  and  it  is  absolutely  in- 
stantaneous in  its  action,  the  quickest  eye  being 
unable,  even  at  close  quarters,  to  detect  the  flight 
of  the  handkerchief. 

It  consists  of  two  straps,  one  for  each  arm, 
which  are  buckled  on  just  above  the  elbows.  One 
of  the  straps  carries  what  is  known  to  mechanics 
as  a  "  lazy  "  pulley,  working  freely  in  all  direc- 
tions, and  provided   with  a  shield,  so  that  the 


Zxic\{5  witb  IbanOftcrcbtets 


75 


cord  cannot  possibly  leave  the  wheel ;  and  the 
other  carries  a  metal  "  D  "  loop.  A  cord  is  tied 
to  the  "  D  "  loop,  passed  over  the  back,  round  the 
pulley  on  the  left  arm,  back  again  and  down  the 
right  sleeve  ;  the  end  of  the  cord  being  furnished 
with  a  loop  to  receive  a  handkerchief.  The  ap- 
paratus must  be  attached  to  the  arms  underneath 


Fig.  17. — Mechanical  "Pull"  for  Vanishing  Handkerchief  — 
(a)  Leather  Strap;  (b)  Brass  Plate;  (c)  Pivot;  (d)  Brass 
Hinge  ;  (e)  Pulley  in  Shield  ;    (l)  Left  Arm  ;    (r)  Right  Arm 

the  shirt,  and  when  in  such  a  position  that  the 
arms  may  be  moved  about  freely,  the  loop  should 
be  in  the  centre  of  the  back,  as  shown  in  Fig.  IT. 
To  enable  the  artist  to  obtain  possession  of  this 
loop,  a  black  thread  is  passed  through  it,  doubled 
and  carried  down  the  right  sleeve,  the  two  ends 


76  IKsnQic 

hanging  out  of  the  cuff  so  as  to  be  readily  found 
by  the  fingers.  Having  found  the  thread,  the 
performer  pulls  it  down  until  the  loop  appears, 
which  is  forthwith  passed  round  the  thumb,  the 
thread  being  broken  and  allowed  to  fall  on  the 
floor.  The  act  of  pulling  the  cord  to  secure  the 
loop  will  pull  the  elbows  close  to  the  sides,  where 
they  must  be  kept  until  the  handkerchief  is  to  dis- 
appear. 

Having  placed  the  handkerchief  through  the 
loop,  which  should  be  of  catgut,  being  semi-trans- 
parent, push  it  into  the  glass  tube  as  described  in 
the  next  trick,  and  place  the  hands  one  over  each 
end.  To  cause  the  handkerchief  to  disappear  all 
that  is  necessary  is  to  move  the  elbows  away 
from  the  sides  while  making  a  quick  up  and  down 
motion  with  the  glass  cylinder,  slightly  lifting 
the  base  of  the  right  hand  from  the  edge  of  the 
glass  to  allow  the  silk  to  pass  up  the  sleeve.  In 
moving  the  elbows  away  from  the  sides  a  pull  of 
from  three  feet  to  four  feet  is  put  on  the  cord, 
the  handkerchief  flying  up  the  sleeve  and  finally 
occupying  a  position  in  the  centre  of  the  perform- 
er's back. 

The  Flying  Handkerchief. — This  is  a  very 
surprising  trick,  and  a  favorite  with  the  most 


Zxicl\6  witb  "IbanMiercblets  77 

noted  prestidigitateurs.  It  depends  chiefly  for 
its  effect  on  the  "Mechanical  Pull."  (Fig.  17.) 
For  its  execution  you  must  be  provided  with  six 
small  silk  handkerchiefs  (two  red,  two  yellow,  and 
two  green),  also  two  glass  cylinders  of.  the  kind 
used  for  gas. 

The  idea  of  the  trick  is  to  cause  a  red  silk 
handkerchief  placed  in  the  centre  of  one  of  the 
glass  tubes,  the  ends  being  covered  with  the 
hands,  to  disappear,  and  be  found  between  a  yel- 
low and  a  green  handkerchief  previously  tied  to- 
gether, rolled  up  into  the  shape  of  a  ball,  and 
placed  in  the  other  cylinder.  It  is  accomplished 
thus : 

Three  of  the  handkerchiefs,  one  of  each  color, 
are  tied  together  by  the  corners,  the  red  being  in 
the  centre.  They  are  then  rolled  up  into  the 
shape  of  a  ball  so  that  the  red  one  cannot  be  seen, 
and  thus  prepared,  are  laid  on  the  table  behind 
the  other  red  handkerchief. 

The  performer  now  takes  the  two  remaining 
handkerchiefs,  one  yellow  and  one  green,  and 
ties  them  together,  rolling  them  up  to  look  as 
near  like  the  duplicate  ball  as  possible.  Holding 
this  ball  in  the  right  hand,  he  takes  up  the  red 
handkerchief,  and  with  it  the  ball  of  three.  He 
then  takes  the  red  handkerchief  in  his  right  hand, 


7S  /BSagic 

passing  the  ball  into  the  left,  and  forthwith  push- 
ing it  into  the  glass  cylinder  on  the  table.  Under 
cover  of  the  red  handkerchief,  however,  the  balls 
are  exchanged  and  that  of  three  is  actually  placed 
in  the  tube. 

While  going  for  the  other  cylinder,  which 
should  be  on  a  table  at  the  rear  of  the  stage,  the 
performer  has  ample  time  to  dispose  of  the  ball 
of  two,  and  to  get  down  the  ''pull."  When 
introducing  the  cylinder  remark  : — "  You  see, 
Ladies  and  Gentlemen,  that  the  tubes  are  of  the 
most  ordinary  description  and  perfectly  free  from 
preparation ;  in  fact,  you  can  see  right  through 
them.  I  hope  you  will  not  be  able  to  see  through 
me  quite  so  easily."  The  red  handkerchief  is 
then  inserted  in  the  cylinder,  being  previously 
passed  through  the  loop,  whence  it  is  caused  to 
vanish  as  described.  The  handkerchiefs  are  then 
taken  from  the  tube  on  the  table,  unrolled  and 
shaken  out ;  when,  by  some  unaccountable  means, 
the  red  one  will  appear  to  have  tied  itself  between 
the  other  two. 

Brass  Tube  to  Produce,  Yanish,  or 
Change  a  Handkerchief. — This  is  really  an 
indispensable  piece  of  apparatus  and  should  be  in 
the  repertoire  of  every  wizard.     It  consists  of  a 


tCrichs  witb  1banOkercbict9 


?9 


piece  of  one  and  one-half  inches  of  brass  tubing 
four  inches  long,  with  two  caps  of  the  same 
metal  to  close  the  ends.  A  handkerchief  is  in- 
serted in  the  tube  and  the  caps  are  immediately 
placed  on  ;  but  notwithstanding  this,  the  hand- 
kerchief disappears,  or  can  be  changed  to  another 
of  a  different  color. 

The  apparatus  really  consists  of  four  pieces, 
the  tube  and  the  two  caps,  with  the  addition  of  a 
cup,  one  and  one-half  inches  deep,  made  to  fit 


Fig.  18.— Brass  Tube  for  Handkerchief  Tricks 


easily  into  either  end  of  the  tube,  and  provided 
with  a  flange  as  in  the  magic  pistol  already 
described,  to  enable  the  performer  to  palm  it  off, 
(See  Fig.  IS).  This  cup  is  not  provided  with  a 
bottom,  but  is  fitted  with  a  piece  of  three-quarter 
inch  tape  fixed  at  each  side,  in  the  centre  of  the 
tube,  in  such  a  manner  that  a  loop  hangs  down 
flush  with,  and  forming  a  bottom  common  to, 
either  end  of  the  cup  (as  at  a). 


80  /Bbagtc 

The  method  employed  in  changing  say  a  white 
handkerchief  for  a  red  one  being  explained,  the 
other  uses  of  the  tube  will  be  apparent.  Load 
a  red  handkerchief  into  the  cup  at  the  end  A, 
and  place  it  under  your  vest,  or  in  the  right- 
hand  trousers  pocket.  Give  the  tube  and  caps 
for  examination,  and  while  they  are  out  of  your 
hands,  get  possession  of  the  cup  and  palm  it  in 
your  right  hand.  Take  back  the  tube  with  the 
left  hand,  pass  it  into  the  right,  and  over  the 
cup ;  and  fit  the  cap  to  the  opposite  end.  Turn 
over  the  tube,  and  with  the  right  hand  apparently 
place  the  white  handkerchief  into  it  (the  handker- 
chief really  goes  into  the  cup  and  pushes  the  red 
one  into  the  tube,  reversing  the  tape).  ]S"ow 
place  the  right  hand  over  the  cup,  reverse  the 
tube,  and  remark  : — "  As  the  cap  has  been  on  this 
end  the  whole  of  the  time,  it  has  not  been  pos- 
sible for  the  handkerchief  to  escape  in  that 
direction.  We  will  now  place  a  cap  on  the 
opposite  end  of  the  tube  and  we  have  the  hand- 
kerchief secure."  Saying  this,  reverse  the  tube, 
palming  off  the  cup  while  doing  so ;  and  while 
holding  the  tube  in  the  same  hand,  to  hide  the 
palm,  fit  on  the  cap.  Give  the  tube  to  some  one 
to  hold  and  drop  the  cup  into  the  profonde,  or 
otherwise  dispose  of  it  at  the  earliest  opportunity. 


^rtclis  witb  1bm^\{cxcbict5  81 

On  removing  the  caps  the  handkerchief  will  be 
found  to  have  changed  color. 

At  this  point  a  good  combination  trick  can  be 
worked  by  the  use  of  two  duplicate  handkerchiefs 
as  follows : — Have  a  duplicate  red  handkerchief 
hanofino^  over  a  chair,  on  the  back  of  which  is 
suspended  a  network  servante.  Another  dupli- 
cate white  handkerchief  should  be  in  readiness  in 
the  back  of  a  match-box  for  producing  from  the 
flame  of  a  candle  as  previously  described. 

When  handing  the  gentleman  the  tube  wiiich 
is  supposed  to  contain  the  white  handkerchief, 
you  take  up  the  red  one  from  the  back  of  the 
chair,  and  at  the  same  time  dispose  of  the  palmed 
cup  by  dropping  it  into  the  servante.  The  red 
handkerchief  is  now  vanished  by  sleight  of  hand, 
or  can  be  fired  from  the  magic  pistol,  and  even- 
tually found  in  the  brass  tube. 

To  account  for  the  disappearance  of  the  white 
handkerchief  you  may  remark : — "  Oh,  I  dare 
say  the  white  handkerchief  has  jumped  out  of 
the  tube  to  make  room  for  the  red  one.  It 
has  probably  found  its  way  into  the  candle  on 
the  table."  To  conclude  the  trick  you  light  the 
candle  and  produce  the  handkerchief  from  the 
flame. 

The  tube  can  be  used  in  manv  wavs  in  com- 


82  m^Qic 

bination  with  other  tricks,  but  I  -must  leave  these 
to  the  ingenuity  of  the  performer. 

To  my  friend,  Adrian  Plate,  a  wonderfully 
clever  manipulator  of  cards  and  handkerchiefs,  I 
am  indebted  for  the  following  new  handkerchief 
tricks,  invented  and  performed  by  him,  and  for 
the  first  time  explained. 


V 


DiSAPPEAEiis^G  Hai^dkerchief.— Obtain  a 
small  red  silk  handkerchief,  also  a  loose  piece  of 
silk  of  the  same  color  about  one  and  one-half 
inches  square.  Keep  this  piece  at  the  corner  of 
the  handkerchief  with  thumb  and  first  finger. 
Rub  the  handkerchief  between  both  hands  until 
you  have  succeeded  in  getting  it  into  small  com- 
pass, taking  care  that  the  small  piece  is  at  the 
top.  Retain  the  handkerchief  in  the  right  hand 
and  with  left  hand  pull  up  the  right  sleeve. 
IS'ow  with  right  hand  pull  up  the  left  sleeve,  but 
leave  the  handkerchief  in  the  bend  of  the  left 
arm,  where  it  will  be  hidden  by  the  folds  of  the 
sleeve,  taking  care,  however,  that  the  small  piece 
of  red  silk  protrudes  from  closed  right  hand,  de- 
luding the  spectators  into  the  belief  that  the 
handkerchief  is  still  in  your  hand, — for  do  they 
not  see  the  corner  of  it  ?  Xow  rub  the  hands 
together  and  roll  the  piece  into  a  small  pellet, 


XLx{c\\6  vvitb  fjanDlicrcbicfs 


83 


and  palm  it  between  the  bend  of  the  thumb  and 
first  finger.  Slap  your  hands  together,  and  show 
both  sides.  This  is  a  most  effective  illusion,  and 
will  deceive  even  the  conjurers. 

Another  clever  disappearing  trick  with  a  hand- 
kerchief is  the  following : — Take  a  piece  of  flesh- 
colored  thread,  and  place  it  about  the  right  hand, 


Fig.  19. — For  Yanishing  Handkerchief 


in  the  manner  depicted  in  the  illu^ration,  (Fig. 
19).  The  dotted  lines  represent  the  thread  on  the 
outside  of  the  hand.  With  this  simple  device,  a 
silk  handkerchief  can  be  apparently  placed  in 
the  left  hand,  when  in  reality  it  is  stuck  between 
the  loop  in  the  right  hand.  The  right  hand  can 
be  freely  moved.  Vanish  a  handkerchief  in  above 
manner  from  the  left  hand,  and  by  grabbing  in 


84 


/Ibacitc 


the  air  with  your  right  hand  you  reproduce  the 
handkerchief. 


Handkerchief  from  Tissue  Paper.— Take 
a  small  bit  of  soft  copper  wire, 
covered  with  cotton  {e.  g.,  a  piece 
of  insulated  telegraph  wire),  and 
construct  a  clamp  about  the  size 
shown  in  the  diagram,  (Fig.  20). 
A  small  red  silk  handkerchief 
about  ten 
inches  square 

^  "  •  '  "^  ^  compactly  as 
possible  and 
placed  be- 
tween the 
clamps.  By 
pressing  the  wire  the  handker- 
chief is  kept  securely  fastened. 
Place  the  fake  on  your  table, 
the  handkerchief  pointing  to- 
ward yourself,  (Fig.  21).  Xow 
take  a  piece  of  white  tissue 
paper,  four  and  one-half  by  seven  inches,  and  lay 
it  over  the  handkerchief.  This  arrangement  of 
course  is  effected  before  the  performance  begins. 


Fig.  20.— Handker 
chief  Clamp 


Fig.  21.— Handker- 
chief Trick 


tTrlcfta  wttb  tbanDl^ercblers  85 

With  your  left  hand  pick  up  the  tissue  paper, 
and  with  the  latter  the  fake  containing  the  hand- 
kerchief. Kow  take  the  paper  in  your  right 
hand,  which  under  cover  of  paper  secures  the 
clasp  (part  A  of  fake)  between  the  first  and 
second  fingers.  The  handkerchief  is  now  on  the 
inside  of  the  right  hand,  while  the  hand  is  per- 
fectly free  in  its  movements.  Exhibit  both  sides 
of  the  paper  and  smooth  it  out.  All  you  have 
to  do  now  is  to  crumble  the  sheet  of  paper,  work 
out  the  handkerchief  from  the  fake  and  insert 
the  ball  of  paper  into  wire  clamp.  Then  show 
the  handkerchief  to  the  audience,  and  drop  the 
fake  into  your  pochette. 

The  Xevv'  Cylinders  axd  IIaxdkeechief 
Trick. — For  this  capital  trick  you  must  provide 
yourself  with  two  glass  cylinders  closed  at  one 
end.  They  may  be  procured  from  conjuring 
depots,  or  constructed  out  of  lamp  chimneys,  by 
cementing  glass  disks  at  the  ends  of  the  chim- 
neys. However,  the  student  will  find  it  more 
satisfactory  to  purchase  these  cylinders  from 
some  reliable  dealer  in  magical  apparatus.  Pref- 
erably they  should  have  rounded  bottoms,  as 
depicted  in  the  illustration.  The  effect  of  the 
trick  is  as  follows : — On  your  table  are  two  cylin- 


86 


^agtc 


ders.     In  front  of  each  lies 


Fig.  22.— Handkerchief  Trick 

the  rapidity  with  which 
articles  sometimes  change 
places,  under  the  influ- 
ence of  atmospheric  elec- 
tricity. Pick  up  the  cyl- 
inders, one  in  each  hand, 
and  move  the  hands 
quickly  apart.  In  the 
same  moment  the  hand- 
kerchiefs change  places 
like  a  flash  of  lightning,  ^ig. 
The  secret  of  this  very  clever 


a  handkerchief,  one 
yellow,  the  other 
red.  Now  pick  up 
the  left-hand  hand- 
kerchief (yellow) 
and  place  it  in  the 
right-hand  cylinder, 
and  the  right-hand 
handkerchief  (red) 
in  the  left-hand 
cylinder,  (Fig.  22). 
Lay  the  cylinders 
once  more  on  the 
table,  and  make  a 
little   speech  about 


23.— Handkerchief  Trick 

illusion  will  become 


Ccicfts  with  "IbanDftcrcbiets  87 

apparent  on  consulting  the  diagram,  (Fig.  23). 
The  cylinders  have  little  holes  in  the  bottoms. 
A  strong  silk  thread  is  run  through  them  and 
looped  about  the  handkerchiefs.  A  few  trials 
will  have  to  decide  the  proper  length  of  this 
thread.  The  explanation  of  this  feat  is  simplic- 
ity itself,  but  the  effect  is  very  bewildering  upon 
an  audience.  It  is  one  of  Plate's  cleverest  tricks 
and  is  performed  by  him  with  artistic  finish. 

The  Haxdkekciiief  Burxed  axd  Restored. 

= — A  clever  trick  is  tlie  "  Handkerchief  burned  and 
restored."  It  was  a  favorite  with  the  late  Alex- 
ander Herrmann,  who  performed  it  in  the  most 
artistic  and  graceful  manner.  It  is  a  trick  of 
pure  sleight  of  hand,  and  requires  no  apparatus  or 
elaborate  preparation,  for  which  reason  it  is  to 
be  highly  commended  to  those  who  delight  in 
digital  experiments.  Says  Edwin  Sachs,  the  euu- 
nent  English  authority  on  legerdemain  : — "  If  I 
wanted  to  test  a  conjurer's  abilitv,  I  should  give 
him  this  trick  to  perform."  And  yet  it  is  made 
lip  of  the  simplest  elements.  By  attention  to 
the  rudiments  of  palming,  etc.,  it  becomes  easy 
of  execution. 

You  commence  operations  by  requesting  the 
loan   of   a   ladv's   handkerchief.     Take   care   to 


88  /Hbaglc 

borrow  one  that  is  devoid  of  lace,  or  special 
ornamentation — in  other  words  a  plain,  white 
one.  You  come  down  among  the  audience  and 
extract  a  lemon  from  the  hair  or  whiskers  of 
some  gentleman,  or  better  still  from  a  ladj's 
muff.  Casually  exhibit  the  lemon,  holding  it 
beneath  the  nose  of  one  of  the  spectators,  re- 
marking:— "It  is  a  genuine  lemon,  as  you  per- 
ceive." Borrow  the  handkerchief,  then  wheeling 
about  toss  the  lemon  to  your  assistant  on  the 
platform.  Now  request  some  gentleman  to  stand 
up  and  rub  the  handkerchief  between  his  hands. 
Advance  toward  the  stage,  but  suddenly  wheel- 
ing about,  look  at  your  volunteer  assistant,  with 
well  simulated  alarm  on  your  face. 

"  My  dear  sir,"  you  remark,  ''  what  are  you 
doing  to  that  handkerchief  ?  You  are  rubbing  it 
the  wrong  way.  Kindly  examine  it."  Much  to 
his  surprise,  he  finds  it  in  small  pieces.  You  then 
take  the  pieces,  expostulating  vehemently  all  the 
while  with  the  gentleman,  for  having  spoiled 
your  trick,  likewise  the  lady's  handkerchief.  The 
more  comedy  you  inject  into  this  little  scene,  the 
better.  Finally  you  remark,  "  I  will  show  you, 
sir,  how  to  restore  the  handkerchief."  Pass  the 
pieces  back  to  him,  with  the  request  that  he  rub 
them  gently  from  "  [N'orth  to  South  " ;  w^hichever 


tlrlcfte  wltb  tjanDl^ercbfcts  89 

\vay  he  performs  the  absurd  movement,  you  cry  r 
"  Here,  here  !  Stop  that !  I  said  from  Xorth  to 
South,  and  you  are  rubbing  from  East  to  West. 
Let  us  see  what  you  have  done  now."  He  shows 
the  results  of  his  handiwork,  but  instead  of  the 
pieces  there  is  now  one  long  strip  of  linen.  Take 
this  from  him,  and  observe,  with  a  melancholy 
air :  ''  It  is  no  use  trying.  I  see  that  you  will 
never  make  a  magician.  Kindly  take  your  seat, 
sir,  and  study  the  points  of  the  compass,  before 
you  again  presume  to  enter  the  magic  circle." 

Offer  the  strip  to  the  owner  of  the  handkerchief, 
saying  that  it  is  no  fault  of  yours  that  it  has  been 
ruined.  She  will  naturally  refuse  to  accept  it. 
Then  remark :  "  Yery  well,  the  only  thing  I  can 
do  is  to  buy  you  a  new  one,  next  bargain-counter 
day,  but  in  the  meantime  let  us  see  what  we  can 
do  with  this  mutilated  mouchoir."  Return  to  the 
stage,  pick  up  the  lemon,  which  has  been  placed 
on  the  table  by  your  assistant,  and  announce  that 
you  will  shoot  the  strip  of  linen  into  the  lemon. 
Load  it  into  your  funnel-pistol  and  fire  at  the 
lemon.  Then  cut  open  the  fruit  and  take  out  the 
dummy  handkerchief.  Start  towards  the  lady  as 
if  to  return  it,  but  stop  suddenly  and  remark, 
"  This  handkerchief  smells  rather  strong  of  lemon. 
Shall  I  perfume  it  for  you,  madam  ?  " 


90  /nbagic 

Without  waiting  for  an  answer  place  the  hand- 
kerchief on  a  plate  and  pour  perfume  over  it,  but 
accidentally  put  on  too  much.  Pick  it  up,  and 
show  it  wet.  Say  you  will  dry  it  a  little  before 
returning  it.  Light  a  candle,  and  while  holding 
the  handkerchief  over  the  flame  it  ignites.  Drop 
it  on  the  plate  and  offer  it  to  the  owner.  Of 
course  she  will  refuse  to  accept  it.  Smother  the 
fire  and  again  offer  the  burned  remnants  to  the 
lady,  making  all  sorts  of  excuses  for  the  accident. 
As  she  again  rejects  your  offer,  say  that  you  will 
put  the  ashes  in  a  paper  for  her.  Lay  the  plate 
on  the  stage,  and  go  to  your  table  for  a  piece  of 
newspaper.  In  the  meantime  your  assistant  cre- 
ates a  small  diversion  by  endeavoring  to  pick  up 
the  hot  plate  and  place  it  on  the  table.  Several 
times  he  burns  (or  pretends  to  burn)  his  fingers, 
dropping  the  plate,  but  finally  succeeds.  By  this 
time  you  have  come  forward  with  the  piece  of 
newspaper.  KoU  up  the  ashes  in  the  paper,  and 
remark,  "Here,  madam,  is  what  is  left  of  your 
handkerchief.  I  present  it  to  you  as  a  small 
souvenir  of  the  entertainment.  AYhat,  you  won't 
receive  it  ?  Tear  open  the  paper  and  take  out 
the  handkerchief  fully  restored.  Present  it  to 
the  lady  with  your  best  compliments,  and  you 
will  be  greeted  with  applause. 


ZTrlcfts  witb  1&an^??ercbiet3  91 

The  following  is  the  secret  of  this  ingenious 
trick : 

Take  a  lemon  and  prepare  it  by  cutting  a  plug- 
shaped  piece  out  of  one  end.  Now  dig  out  all 
the  pulp.  Stuff  an  old  handkerchief  or  piece  of 
square  linen  into  the  lemon,  after  which  replace 
the  plug  and  secure  it  with  pins.  Palm  the  lemon 
in  your  right  hand,  holding  the  lapel  of  your 
coat  the  better  to  conceal  the  fruit  as  you  come 
down  among  the  audience.  Under  the  waist- 
band of  your  vest,  on  the  left  side,  you  have 
secreted  a  bundle  of  about  a  dozen  pieces  of  white 
muslin — say,  three  inches  square — and  on  the 
right  side  a  strip  of  about  three  inches  wide  and 
a  yard  long.  On  your  table  have  a  double  piece 
of  newspaper,  about  a  foot  square,  pasted  together 
on  three  sides,  so  that  it  forms  a  sort  of  bag,  but 
appears  like  a  single  thickness.  Also  have  on 
the  table  tw^o  plates,  a  magic  pistol,  a  perfume 
bottle  filled  ^vith  alcohol,  a  candle  and  a  candle- 
stick. After  producing  the  lemon  from  the  gen- 
tleman's whiskers,  take  the  lady's  handkerchief 
in  the  left  hand.  As  you  turn  toward  the  stage 
to  throw  the  lemon  tuck  the  handkerchief  under 
your  vest  in  the  middle  and  pull  out  the  pieces 
and  long  strip  from  under  the  vest.  Give  the  pieces 
to  the  gentleman  ^vho  is  to  assist  you,  but  retain 


92  ^afllc 

the  slip.  A  judicious  use  of  the  wancl  will  ena- 
ble you  to  better  conceal  the  palmed  linen,  and 
to  effect  the  several  changes  in  an  indetectible 
manner.  While  explaining  to  the  gentleman  how 
to  restore  the  handkerchief,  substitute  the  pieces 
for  the  long  strip  and  give  him  that  to  hold. 
Get  rid  of  the  pieces  in  your  profonde.  All  is 
now  plain  sailing  until  you  arrive  at  the  incident 
of  the  newspaper.  While  your  assistant  is  work- 
ing with  the  supposedly  hot  plate,  you  will  have 
ample  opportunity  for  stuflSng  the  original  hand- 
kerchief into  the  paper  bag,  smoothing  it  out  as 
flat  as  you  can.  Wrap  up  the  ashes,  and  finally 
tear  open  the  paper  through  the  outer  thickness. 
The  ashes  will  be  concealed  by  the  inner  cover. 
Crumple  up  the  paper  and  throw  it  carelessly  on 
the  stage. 

Some  performers  go  behind  the  scenes  to  ob- 
tain the  paper,  and  effect  the  concealment  of  the 
original  handkerchief,  but  this  is  unnecessary, 
besides  it  detracts  from  the  effect  of  the  experi- 
ment. The  diversion  created  by  your  assistant 
with  the  hot  plate  will  afford  you  ample  oppor- 
tunity to  get  the  handkerchief  into  the  paper. 


CHAPTER  Y 
tricks  with  balls 

Creatio:n',  Maxipulatiox,  Multiplica- 
tion, AND  Annihilation  of  Billiaed  Balls. 
— For  the  series  of  tricks  hereafter  described, 
you  will  require  two  solid  billiard  balls,  and  a 
case  to  contain  one  of  the  balls,  consisting  of  two 
hemispheres  of  thin  spun  brass  hinged  together. 
When  closed  this  case  will  represent  a  solid  ball, 
but  when  open  and  held  in  the  hand  with  the 
thumb  over  the  hinge,  will  appear  as  two  balls. 
The  balls,  together  with  the  case,  should  be 
enameled  red.  When  about  to  present  the 
trick,  come  forward  with  the  case  containing  a 
solid  ball  in  the  left  breast  pocket,  and  the  other 
solid  ball  under  the  left  armpit. 

Creation. — Pull  up  the  right  sleeve  and  then 
the  left  one,  which  gives  you  the  opportunity  of 
taking  the  ball  in  the  right  hand  unperceived. 
You  now  execute  what  is  known  as  the  "  Change- 
over Palm  "  to  show  both  hands  empty,  and  then 
produce  the  ball  from  the  back  of  the  right  hand. 

93 


94 


/Iftacjlc 


This  palm  is  made  as  follows :  Having  gotten  the 
ball  into  the  right  hand  draw  attention  to  the 
left  with  the  fingers  of  the  right,  showing  it 
back  and  front.  When  doing  this  you  will  be 
standing  with  your  right  side  toward  the  audi- 
ence. Now  make  a  sharp  half  turn  to  the  right 
and  show  the  right  hand  in  the  same  manner. 
This  you  will  be  able  to  do,  as  when  making  the 
turn    the    palms   of   the   hands   very   naturally 


FiG.  24.— Revolving  Ball 

pass  over  each  other,  and  the  ball  is  trans- 
ferred from  the  palm  of  the  right  hand  to  that 
of  the  left. 

The  ball  is  now  found  on  the  back  of  the  right 
hand. 

Manipulation. — The  amount  of  manipulation 
possible  with  a  single  ball  is  considerable,  and 
limited  only  by  the  dexterity  of  the  performer. 


tlrlcfts  witb  :©all6 


95 


The  principles  of  sleight  of  hand  as  described  in 
Chapter  II.  will,  with  few  exceptions,  be  found 
equally  adaptable  to  this  branch  of  the  mystic  art. 
For  the  benefit,  however,  of  those  of  my  readers 
who  have  not  hitherto  made  sleight  of  hand  a 
study,     I  append  a  few  examples. 

1.  Having:  obtained  the  ball  from  the  back 
of  the  right  hand, 
place  it  between 
the  two  forefin- 
gers, (Fig.  2i). 
Then  twist  the 
fingers  round  and 
round,  which  will 
cause  the  ball  to 
revolve  with  them. 
This  produces  a 
very  pleasing  and 
puzzling  effect,  and  is  to  all  appearance  a  feat  of  dex^ 
terity.     It  requires,  however,  very  little  practice. 

2.  Close  the  right  hand  and  place  the  ball 
on  the  top,  (Fig.  25).  From  this  position  appear 
to  take  it  in  the  left  hand,  really  allowing  it 
to  sink  down  into  the  palm  of  the  right,  where 
it  is  retained.  Vanish  the  ball  from  the  left 
hand  in  the  usual  manner,  and  produce  it  from 
the  left  elbow. 


Fig.  25. — Ball  in  Position  on 
Right  Hand 


96  /DSaflfC 

3.  Eoll  the  ball  between  the  palms  of  the 
hands  as  if  you  were  trying  to  make  it  smaller. 
When  the  left  hand  is  underneath,  seem  to  close 
it  over  the  ball,  really  palming  it  in  the  right 
hand.  The  left  hand  is  now  brought  down 
rather  smartly  on  the  back  of  the  head,  and  the 
ball  produced  from  the  mouth. 

4.  Place  the  ball  between  the  teeth  and,  ap- 
parently, give  it  a  smart  rap  with  the  right  hand 
as  if  to  force  it  into  the  mouth.  The  ball,  how- 
ever, is  palmed  in  the  right  hand,  and  immedi- 
ately taken  from  the  back  of  the  head.  When 
producing  the  ball,  pass  it  up  the  back  and  over 
the  top  of  the  head,  and  let  it  fall  into  the  left 
hand. 

5.  Appear  to  take  the  ball  from  the  left  hand, 
as  in  "  Le  Tourniquet "  with  a  coin.  Then  ap- 
parently pass  it  through  the  left  knee,  produc- 
ing it  from  underneath. 

6.  Throw  the  ball  several  times  from  one  hand 
to  the  other,  and  finally,  when  appearing  to 
throw  it  into  the  right  hand,  palm  it  in  the  left. 
Vanish  the  ball ;  place  the  left  hand  to  the  nose ; 
and  let  the  ball  fall  into  the  right  hand.  To  all 
appearances  it  actually  comes  from  the  nose. 

7.  Stand  with  the  left  side  to  the  audience,  and 
throw  the  ball  into  the  air  several  times.    At  the 


ZTrfcfts  witb  3iSall6  97 

third  time  palm  it  in  the  left  hand ;  the  effect 
being  that  the  ball  is  vanished  into  thin  air. 
Xow  perform  the"  Change-over  Palm,"  described 
above,  and  find  the  ball  at  the  back  of  the  right 
knee. 

8.  Apparently  transfer  the  ball  from  the  right 
hand  to  the  left,  really  palming  it.  Place  the 
palm  of  the  right  hand  (containing  the  ball)  on 
the  right  breast,  and  thence  extend  it  over  in  the 
direction  of  the  left  sleeve.  In  the  act  of  doing 
this,  the  ball  leaves  the  palm  and  is  held  between 
the  forearm  and  the  body ;  the  hand,  turned 
palm  toward  the  audience,  then  pulls  up  the 
sleeve.  You  then  blow  on  the  left  hand  to 
vanish  the  ball,  and  show  the  hand  empty. 

To  regain  possession  of  the  ball,  all  that  is 
necessary  is  to  reverse  the  motion  of  the  arm, 
when  the  ball  will  find  its  way  into  the  palm  of 
the  hand,  and  can  be  produced  as  fancy  suggests. 

If  the  ball  is  not  produced,  the  above  forms  an 
excellent  final  vanish  to  any  billiard-ball  trick. 

If  used  as  a  vanish,  after  having  regained  pos- 
session of  the  ball,  you  stand  with  the  hands  one 
on  each  lappet  of  the  coat,  bow,  and  retire. 

This  pass,  which  I  have  found  practical  in 
every  way,  was  given  to  me  by  Mr.  George  New- 
man, a  very  clever  amateur  conjurer. 


98  ^agic 

The  following  explanations  will  to  some  extent 
be  given  in  the  "  vernacular,"  it  being  assumed 
that  the  student  has  become  familiar  wdth  the 
various  passes. 

Multiplication. — You  must  now  obtain  pos- 
session of  the  trick  ball,  which  can  be  done  by 
means  of  the  folloAving  ruse.  Appear  to  place 
the  ball  in  the  left  hand,  vanish,  and  take  it  from 
the  left  breast  pocket.  In  doing  so  you  take  out 
the  trick  ball,  leaving  the  solid  one  behind. 

For  two  balls. — Take  the  trick  ball  in  the  left 
hand,  and,  waving  the  hand  up  and  down,  open 
the  shell,  placing  the  thumb  over  the  joint,  when 
you  will  appear  to  have  two  balls  in  the  left 
hand.  To  show  these  as  two  solid  balls,  one  in 
each  hand,  take  the  ball  out  of  the  case,  which 
forthwith  close.  This  can  easily  be  done  under 
cover  of  the  right  hand.  Draw  attention  to  the 
ball  in  the  left  hand,  and  remark,  "  One,  and  this 
one  "  (ball  in  right  hand)  "  make  two."  As  you 
say  this  you  appear  to  place  the  ball  in  the  left 
hand,  really  opening  the  case  to  represent  two 
balls,  and  palming  the  solid  one  in  the  right 
hand. 

For  three  balls. — Produce  the  ball  you  have 
palmed  from  behind  the  left  knee,  and  really 


G:rlcft6  witb  :©all5  99 

place  it  with  the  two  others  (case  open)  in  the 
left  hand.  Wave  the  left  hand  up  and  down, 
and  under  cover  of  the  movement  allow  the  solid 
ball  to  slip  into  the  case.  Then  produce  the  ball 
previously  left  in  the  breast  pocket,  and  you  will 
seem  to  have  passed  a  ball  up  your  sleeve. 

For  four  balls. — Draw  attention  to  the  two 
balls  now  in  the  left  band  (case  open,  with  a 
solid  ball  in  one  half)  and  remark,  "Two,  and 
this  one "  (ball  in  right  hand)  "  make  three." 
Saying  which,  you  apparently  place  the  ball  in 
the  left  hand,  really  palming  it  as  before,  and 
dropping  the  ball  out  of  the  case  under  the  cover 
of  the  right  hand.  You  now  find  the  palmed 
ball  at  the  left  elbow,  and  really  place  it  with 
the  other  three  in  the  left  hand.  You  will  now 
appear  to  hold  four  solid  balls. 

Anis-ihilatioit.— Appear  to  take  a  ball  in  the 
right  hand,  really  allowing  one  to  fall  into  the 
case.  Vanish  this  ball  in  the  act  of  throwing  it 
to  the  audience.  You  now  actually  take  another 
solid  ball  in  the  right  hand  and  exclaim,  "  I  will 
vanish  this  one  into  thin  air.  Watch  me."  Actu- 
ally throw  the  ball  into  the  air  several  times,  and 
while  doing  this  lower  the  left  hand,  and  drop 
the  solid  ball  out  of  the  case  into  the  profonde, 


100  mtiQic 

making  a  movement  that  the  audience  cannot 
fail  to  notice.  Thinking  they  have  caught  you, 
some  one  is  sure  to  remark,  "  I  saw  him  put  one 
in  his  pocket  that  time."  To  which  you  will  re- 
ply, "  Oh,  no,  I  did  not  put  any  in  my  pocket.  I 
would  not  deceive  you  in  such  a  manner.  Two 
and  one "  (the  one  in  the  right  hand)  "  make 
three."  You  now  really  place  the  ball  in  the 
left  hand. 

Again  appear  to  take  a  ball  in  the  right  hand, 
letting  it  fall  into  the  case  as  before.  Then  van- 
ish it  in  the  act  of  apparently  throwing  it  into 
the  air.  Wave  the  left  hand  up  and  down,  and 
under  cover  of  the  movement  close  the  case, 
which  will  dispose  of  the  third  ball. 

Finall}",  make  believe  to  take  this  last  ball  in 
the  right  hand,  standing  with  your  right  side  to 
the  spectators.  Instead  of  doing  this,  however, 
the  case  is  opened,  under  cover  of  the  right  hand, 
and  the  solid  ball  extracted.  The  right  hand  is 
then  closed  over  the  ball  so  that  it  cannot  be 
seen,  and  the  left  hand  quietly  places  the  case  in 
the  profonde.  It  is  well  to  again  let  this  move- 
ment be  suspected.  Then,  looking  at  the  right 
hand,  remark  :  "  I  have  now  only  to  dispose  of 
this  last  ball."  At  this  point  some  one  is  almost 
sure  to  say,  "  Oh !  but  I  saw  you  put  it  in  your 


Zv\c}{e  witb  3BaU0  loi 

pocket."  You  will  then  cause  considerable 
amusement  to  the  spectators,  and  bring  derision 
on  the  party  with  the  voice,  by  showing  the  ball 
in  the  right  hand. 

To  cause  the  disappearance  of  the  last  ball 
make  use  of  the  pass  described  under  Example 
8  (p.  97). 

Billiard  Balls  and  Basins. — For  the  pur- 
pose of  this  trick  you  will  require  two  small 
basins  and  two  tea  plates.  The  plates  are  to  act 
as  covers  for  the  basins.  In  addition  to  these 
paraphernalia  you  will  require  two  india-rubber 
balls  to  match  in  size  and  color  the  ordinary 
billiard  balls. 

The  effect  of  the  illusion  is  as  follows : — The 
two  basins  are  shown  empty,  and  each  is  covered 
with  a  plate.  In  the  course  of  the  preceding 
billiard-ball  trick,  or  a  portion  of  the  same,  two 
balls  are  vanished,  afterward  appearing  in  the 
basins. 

To  prepare  for  the  trick,  place  one  of  the 
basins,  containing  one  of  the  balls,  on  the  table, 
and  cover  it  with  one  of  the  plates.  On  the  top 
of  this  plate  place  the  other  basin,  containing  the 
second  ball,  covering  the  same  with  the  remain- 
ing plate. 


102  flbagfc 

When  about  to  present  the  illusion,  you  take 
the  top  plate  in  the  left  hand,  and  the  basin  in 
the  right,  fingers  inside  and  thumb  out.  This 
enables  you  to  grasp  the  ball,  and  conceal  it  in 
the  fingers,  while  holding  the  basin  so  that  the 
inside  can  be  inspected.  Place  the  basin  on  the 
floor,  retaining  the  ball  in  the  fingers,  and  im- 
mediately take  the  plate  in  the  right  hand,  which 
again  conceals  the  balL  Show  the  left  hand 
empty,  also  both  sides  of  the  plate.  Then  pass 
the  plate  back  into  the  left  hand,  taking  the  ball 
with  it,  and  show  both  sides  of  the  right  hand. 
Cover  the  basin  wath  the  plate  and  in  doing  so 
secretly  introduce  the  ball. 

You  must  now  go  through  the  same  move- 
ments with  the  other  plate,  ball,  and  basin,  and 
the  trick  is  practically  finished.  All  that  re- 
mains for  you  to  do  now  is  to  vanish  two  balls 
and  find  them  in  the  basins. 

The  india-rubber  balls  are  essential  for  silence 
when  dropped  into  the  basin.  Ordinary  w^ooden 
balls  would  rattle  and  thus  betray  their  presence. 

Color-Changing  Billiard  Balls. — There 
is  a  very  old  trick  similar  to  what  I  am  about  to 
describe,  known  as  the  "  Chameleon  Balls."  In 
this  form  of  the  trick  the  ball  is  caused  to  change 


^Tlcfts  witb  JBalls  103 

by  palming  on,  or  off,  as  occasion  may  require, 
half  shells  of  different  colors.  I  will  now  ex- 
plain a  method  of  producing  a  result  analogous 
to  the  old  trick,  but  brought  about  by  entirely 
different  means. 

The  necessary  accessories  are  a  red,  a  black, 
and  a  white  billiard  ball,  all  solid.  Place  the 
w^hiteball  in  the  profonde,  and  the  black  one  in  the 
pochette,  on  the  left  side.  Having  arrived  at  the 
point  in  Annihilation  (p.  100)  where  all  the  balls 
have  been  disposed  of  with  the  exception  of  the 
last  solid  one,  you  throw  this  in  the  air  as  if  to 
vanish  it  in  that  direction.  While  all  eyes  fol- 
low the  ball  in  its  upward  flight  you  lower  the 
left  hand  and  take  the  white  ball  from  the  pro- 
fonde,  palming  it.  In  doing  this  you  would  of 
course  stand  with  the  right  side  to  the  audience. 

The  Chaxge  to  White. — Make  a  half  turn  to 
the  right  and  take  the  red  ball  in  the  fingers  of 
the  left  hand,  in  which  you  have  the  white  ball 
palmed.  Then  show  the  right  hand  back  and 
front.  Xow  take  the  visible  red  ball  in  the 
fingers  of  the  right  hand,  and,  at  the  same  in- 
stant, make  the  "  Change-over  Palm."  This 
brings  your  right  side  again  to  the  auditorium 
and  enables  you  to  show  the  left  hand  empty. 


104  ISStiQiC 

To  execute  the  change  you  place  the  red  ball 
in  the  fingers  of  the  left  hand,  and  then  stroke  it 
with  the  palm  of  the  right ;  palming  the  red  ball 
and  leaving  in  place  of  it  the  white  one.  Again 
make  the  "  Change-over  Palm "  showing  the 
hands  empty,  with  the  exception  of  the  white 
ball. 

The  Change  to  Black. — You  take  the  ball  in 
the  right  hand,  and  turning  to  the  left  bring  it 
down  rather  smartly  oh  the  table,  to  prove  its 
solidity.  This  gives  3^ou  the  opportunity  of 
dropping  the  red  ball  into  the  profonde  and  tak- 
ing the  black  one  from  the  pochette. 

To  change  the  white  ball  to  black  you  will 
proceed  as  in  the  previous  change,  disposing  of 
the  palmed  white  ball  at  the  earliest  opportunity, 
or  it  can  be  produced  with  good  effect  from  the 
bottom  of  the  trousers.  Then  lay  both  balls 
down  on  the  table. 

To  appreciate  and  thoroughl}^  understand  the 
effect  of  the  above,  it  is  necessary  to  actually 
practice  the  various  movements  with  the  balls  in 
front  of  a  mirror. 

The  Diminishing  Billiard  Balls. — The 
trick  under  notice  has  for  its  effect  the  apparent 


Zxic^e  vvitb  :©all5 


105 


diminution  of  an  ordinary  billiard  ball,  first  to 
half  its  original  size,  secondly  to  one-quarter  its 
original  size,  and  finally  to  a  very  small  ball,  with 
which  several  amusing  passes  are  made,  and 
Avhich  afterward  disappears  entirely. 

In  this  case  a  trick  ball  is  used  of  a  size  equal 
to  half  that  of  the  ordinary  one,  and  hollowed 
out  so  as  to  contain  a  solid 
ball  of  a  diameter  equal  to 
half  that  of  itself,  (Fig.  26). 
The  hollow  ball  must  be  so 
constructed  that  the  small 
one  pinches  slightly  into  it, 
but  can  be  instantly  released 
by  simply  passing  the  ball  of 
the  thumb  over  it.  A  dupli- 
cate of  this  small  ball  should 
be  placed  in  the  right  hand  waistcoat  pocket  for 
use  in  the  latter  part  of  the  trick. 

The  trick  ball  is  placed  in  the  left  pochette, 
whence  it  is  obtained  and  used  according  to  the 
instructions  given  in  the  "  Color-changing  Balls." 
To  produce  the  smallest  size,  hold  the  trick  ball 
in  the  left  hand,  having  previously  loosened  the 
small  one,  and  in  the  act  of  stroking  it  with  the 
right  hand,  palm  off  the  hollow  ball,  and  dispose 
of  it  as  soon  as  possible. 


F\^.  26.— Trick  Balls 


106  /IRagfc 

With  the  small  ball  you  now  execute  the  pass 
as  described  under  Example  4  on  p.  96.  Then 
actually  place  the  ball  in  the  mouth,  pretend  to 
swallow  it,  and  produce  the  one  from  the  vest 
i)ocket,  which  will  appear  to  be  the  same. 

You  DOW  seem  to  place  the  ball  in  the  left 
liand,  really  palming  it ;  then  bring  the  left 
band  down  with  apparent  force  on  the  top  of  the 
head,  showing  the  ball  between  the  teeth.  Here 
raise  the  right  hand  as  if  to  take  the  ball  from 
the  mouth,  but  really  push  it  back  and  show  the 
palmed  one.  Then  repeat  the  same  pass,  but  this 
time  actually  let  the  ball  fali  from  the  mouth 
into  the  left  hand,  the  right  disposing  of  the 
palmed  ball  into  the  profonde. 

I  have  seen  a  series  of  passes,  including  the 
above,  performed  with  two  eggs  in  place  of  the 
small  balls,  but  unless  the  performer  be  endowed 
with  a  colossal  cavity  between  the  upper  and 
lower  jaws,  I  should  not  advise  him  to  attempt 
this. 

The  Handkerchief  Ball. — This  forms  a 
very  good  introduction  to  a  billiard  ball  trick,  all 
that  is  required  being  a  ball  of  the  usual  size, 
hollowed  out  so  as  to  take  a  handkerchief,  with 
an  opening  one  inch  in  diameter  on  the  surface. 


^ricfts  wftb  J5all6  107 

This  ball  is  suspended  behind  the  top  rail  of  a 
chair  bj  means  of  a  pin. 

After  performing  any  trick  in  which  a  hand- 
kerchief has  been  employed,  carelessly  throw  it 
over  the  back  of  the  chair  while  you  roll  up 
your  sleeves.  If  you  do  not  care  to  roll  up  the 
sleeves,  perform  any  small  trick  before  proceed- 
ing with  the  present  one,  otherwise  it  might  be 
too  palpable  that  the  handkerchief  was  thrown 
over  the  chair  for  a  purpose.  Then  take  up  the 
handkerchief  (secretly  securing  the  ball)  and 
gradually  work  it  into  the  ball,  being  careful  to 
keep  the  ball  out  of  sight  as  much  as  possible 
until  the  handkerchief  has  totally  disappeared. 
Finally  throw  the  ball  into  the  air,  which  can 
safely  be  done  providing  it  and  the  handkerchief 
are  both  of  the  same  color,  which  would  not 
admit  of  the  hole  being  observed. 

At  this  point,  should  you  desire  to  proceed  with 
a  billiard  ball  trick,  you  can  do  so  by  changing 
the  hollow  ball  for  a  solid  one  in  the  same  man- 
ner that  you  changed  the  solid  ball  for  the  trick 
one  in  the  "  Multiplying  Billiard  Balls." 

The  Dissolvixg  Billiard  Ball. — This 
forms  an  excellent  conclusion  to  a  billiard  ball 
trick.     A  glass  tumbler  three  parts  filled  with 


108  lH^nQic 

water  is  given  to  a  gentleman  to  hold.  A  ball 
is  then  covered  with  a  handkerchief  and  given 
to  the  gentleman  with  a  request  that  he  will 
hold  it  over  the  glass  and  at  the  word  "  three  " 
will  allow  it  to  fall  into  the  water.  This  is 
done,  and  upon  the  handkerchief  being  removed 
from  the  tumbler,  nothing  remains  but  the  fluid, 
which  is  perfectly  transparent,  the  ball  having 
apparently  been  dissolved  therein. 

The  secret  of  this  lies  in  the  fact  that  the  per- 
former is  provided  with  a  half  shell  of  clear  glass. 
This  shell  is  secretly  slipped  over  the  ball  in  the 
act  of  covering  it  with  the  handkerchief,  and 
when  handing  it  to  the  gentleman  the  solid  ball 
is  palmed  away  by  the  performer.  The  gentle- 
man is  not  at  all  likely  to  discover  that  he  holds 
only  a  half  ball,  as,  being  hampered  with  the  glass 
of  water,  he  is  effectually  prevented  from  mak- 
ing an  examination. 

It  is  well  to  be  provided  with  a  tumbler  the 
bottom  of  which  is  shaped  somewhat  to  fit  the 
form  of  the  shell,  and  ornamented  slightly,  but 
this  latter  feature  is  not  absolutely  necessary. 

Fancy  Sleight  with  a  Small  Ball. — A 
small  ball  is  generally  used  for  this  pass,  but  it  is 
applicable  to  any  object  that  can  be  conveniently 


trrfcks  vvitb  JSalls  109 

placed  in  the  mouth.  In  effect  it  is  as  follows : 
A  ball,  for  instance,  is  rubbed  into  the  left  elbow 
and  passed  thence  up  into  the  hand.  The  hand 
is  then  brought  down  rather  smartly  on  the  back 
of  the  head,  the  ball  being  immediately  after- 
ward taken  from  the  mouth. 

The  sleight  is  thus  executed  r  The  performer 
takes  the  ball  in  his  right  hand  and  commences 
to  rub  it  into  his  left  elbow.  At  this  point  he 
apparently  meets  with  an  accident,  dropping  the 
ball  on  the  floor.  The  dropping  of  the  ball, 
however,  apart  from  being  an  accident,  is  abso- 
lutely essential  to  the  success  of  the  illusion. 
After  having  picked  up  the  ball  and  while  still 
in  a  stooping  position  with  his  back  toward  the 
spectators,  the  performer  quickly  throws  it  into 
his  mouth,  immediately  facing  round  and  draw- 
ing attention  to  the  right  hand  the  fingers  of 
which  must  seem  to  close  round  the  object.  The 
rubbing  at  the  elbow  is  again  commenced  and  the 
right  hand  eventually  shown  empty.  The  per- 
former then  makes  a  sign  indicative  that  the  ball 
has  passed  up  into  the  left  hand,  which  is  then 
brought  down  with  apparent  force  on  the  back  of 
the  head.  The  ball  in  the  mouth  is  then  revealed, 
when  it  will  appear  to  have  actually  traveled  to 
that  position. 


110  /IRagic 

This  sleight  can  very  well  be  introduced  Jit  the 
close  of  the  Diminishing  Billiard  Balls. 

I  am  indebted  to  Mr.  Eoss  Conjears,  an  exceed- 
ingly dexterous  magician,  for  the  above. 

EouGE  ET  E^oiR. — This  pretty  trick  consists  of 
causing  two  balls,  one  red  and  one  black,  wrapped 
in  pieces  of  paper  and  placed  in  borrowed  hats, 
to  change  places  at  command.  The  diameter  of 
the  balls  should  be  four  and  one-half  inches. 

The  solution  of  the  problem  lies  in  the  con- 
struction of  the  papers  with  which  the  balls  are 
covered.  They  are  arranged  thus :  Take  two 
pieces  of  newspaper  and  paste  them  together  all 
round  the  edges,  having  previously  inserted  be- 
tween them  a  layer  of  red  glazed  paper  of  the 
same  shade  as  the  ball.  The  other  one  is  pre- 
pared in  exactly  the  same  vvay,  but  contains  a 
layer  of  black  glazed  paper  to  represent  the  black 
ball. 

The  two  balls  are  now  wrapped  in  the  papers, 
care  being  taken  to  cover  the  red  ball  with  the 
paper  containing  the  black  layer,  and  vice  versa. 
After  this  has  been  done  the  performer  feigns  a 
slip,  mixing  up  the  packages,  and  thereby  con- 
fusing  the  audience  as  to  the  relative  positions  of 
the  balls.     As  if  to  satisfy  them  on  this  point  he 


Urfcfts  wltb  :fi3all6  in 

tears  a  small  hole  in  the  outer  covering  of  one  of 
the  parcels,  exposing  sav  the  layer  of  black 
paper.  The  parcel  is  then  placed  in  the  hat  on 
the  supposition  that  it  contains  the  black  ball. 

The  other  package  is  now  treated  in  the  same 
manner,  after  which  the  supposed  transposition 
of  the  balls  will  be  easily  understood. 

Ball,  Handkerchief,  axd  Tumbler. — This 
is  a  very  good  combination  trick,  and  as  such  will 
serve  as  an  example  for  the  arrangement  of 
others.  A  billiard  ball  is  placed  in  a  small 
tumbler,  which  is  in  turn  wrapped  in  a  piece  of 
newspaper  and  deposited  in  a  borrowed  hat. 
The  performer  then  takes  a  small  silk  handker- 
chief and  rolls  it  up  in  his  hands,  when  it  is  seen 
to  have  become  transformed  into  a  billiard  ball. 
The  glass  is  then  taken  from  the  hat,  and,  on  the 
paper  being  removed,  is  found  to  contain  the 
handkerchief.  The  ball,  handkerchief,  and 
tumbler,  together  with  the  piece  of  paper,  are 
then  caused  to  vanish,  one  at  a  time,  from  the 
hands  of  the  performer,  who  immediately  after- 
ward produces  them  from  the  hat. 

The  modus  operandi  is  as  follows : — A  duplicate 
tumbler  containing  a  handkerchief,  and  wrapped 
in  paper,  must  be  secretly  introduced  into  the  hat 


112  /IRagfc 

prior  to  the  commencement  of  the  trick.  (See  Hat 
Tricks.)  The  tumbler  containing  the  ball  and 
wrapped  in  paper  is  then  placed  in  the  hat.  The 
performer  now  takes  up  a  duplicate  handkerchief, 
and  under  cover  of  the  same  the  hollow  ball  al- 
ready described.  The  handkerchief  is  worked 
into  the  ball,  which  is  shown  in  due  course,  and 
laid  on  the  table,  opening  downward.  The 
duplicate  tumbler  is  then  removed  from  the  hat, 
and  found  to  contain  the  handkerchief.  These 
articles,  including  the  piece  of  paper,  are  then 
laid  on  the  table  by  the  side  of  the  ball. 

The  performer  now  goes  to  the  hat,  and,  un- 
der pretense  of  moving  it  further  away,  turns  it 
over,  thus  proving,  in  conjurer's  logic,  that  it  is 
empty.  This  can  easily  be  done  by  taking  the 
hat  fingers  inside  and  thumb  out,  the  fingers  be- 
ing inserted  in  the  top  of  the  tumbler.  The  per- 
former then  returns  to  the  table  and  proceeds  to 
dispose  of  the  articles  thereon. 

The  piece  of  paper  rolled  up,  and  the  ball,  are 
caused  to  vanish  by  any  of  the  means  already 
explained.  To  cause  the  disappearance  of  the 
glass  you  must  be  provided  with  a  handkerchief, 
silk  by  preference,  consisting  of  two  handker- 
chiefs sewn  together  round  the  edges,  in  the  cen- 
tre of  which  is  fixed  a  disk  of  cardboard  of  the 


^rfcfte  witb  :fi5aU6  113 

same  size  as  the  top  of  the  tumbler.  The  tum- 
bler being  covered  with  this  handkerchief,  the 
performer,  as  if  to  satisfy  the  spectators  that  it 
is  still  there,  strikes  it  several  times  on  the  back 
of  a  chair,  and  under  cover  of  the  movement 
allows  the  glass  to  fall  into  the  network  servante. 
The  handkerchief,  however,  owing  to  the  pres- 
ence of  the  disk,  still  appears  to  contain  the 
glass,  the  ultimate  disposal  of  which  will  now  be 
readily  understood. 

In  conclusion,  the  performer  takes  the  hand- 
kerchief lying  on  the  table  and  vanishes  it  by 
palming  in  the  ordinary  way ;  the  right  hand 
being  immediately  dived  into  the  hat  and  the 
handkerchief  produced.  The  other  articles  should 
be  removed  one  at  a  time,  not  forgetting  to 
crumple  the  paper  into  a  ball  before  taking  it 
out. 


CHAPTEE  YI 

HAT  TEICKS 

The  uses  to  which  that  piece  of  headgear,  the 
much  abused  silk  hat,  lends  itself  in  "I'art 
magique"  are  almost  innumerable.  The  chief, 
however,  and  the  one  immediately  under  consid- 
eration, is  the  production  therefrom  of  a  host  of 
heterogeneous  articles,  of  which  the  following 
list  will  give  an  idea : 

Fifty  yards  of  sash  ribhon^  eight  inches  wide. — 
The  ribbon  should  be  folded  over  and  over,  in 
large  pleats,  so  that  it  can  be  readily  taken  from 
the  hat. 

Two  dozen  fancy  cardhoard  hoxes^  three  and 
three  fourth  inches  hy  two  and  one-half  inches  by 
two  and  one-half  inches. — These  are  made  to  fold 
flat,  the  size  of  the  parcel  when  ready  for  intro- 
duction being  five  inches  by  three  and  three- 
fourth  inches  by  one  and  one-half  inches. 

Two  hundred  flowers^  known  as  sjyring  flowers. 
— Each  flower  when  closed  is  very  little  thicker 
than  brown  paper,  but  immediately  on  being  re- 
114 


Ibat  tTricfta  lis 

leased  expands  to  the  size  of  a  full-brown  tulip. 
One  hundred  of  these  flowers,  w^hen  closed,  can 
easily  be  hidden  in  the  hand. 

A  string  of  sausages. — These,  it  is  hardly 
necessary  to  remark,  are  imitation,  being  made 
in  silk  of  the  required  color. 

A  hundle  of  wood. — This  is  made  hollow,  con- 
sisting of  a  cardboard  case  with  pieces  of  wood 
glued  on  the  outside  and  on  one  end,  the  other 
being  left  open.  It  is  usually  filled  with  baby 
linen,  together  with  a  feeding-bottle  containing 
milk. 

One  hundred  yards  of  narroio^  colored  ribbon. 
— This  is  made  in  coils,  machine  rolled,  similar 
to  that  used  for  telegraph  purposes.  A  coil  of 
this  ribbon  can  very  well  be  placed  in  the  bottom 
of  the  sham  bundle  of  ^vood.  When  producing 
the  coil  it  should  be  unrolled  from  the  centre. 

Four  pound  iceight  of  playing  cards. — These 
make  a  tremendous  show  when  strewn  about  the 
stage.  A  good  plan,  also,  is  to  have  a  number 
joined  together  in  a  long  string  by  means  of  cotton. 

A  cannon  hall. — This  is  usually  made  in  zinc, 
five  inches  in  diameter,  hollow,  and  provided 
with  a  sliding  lid.  It  can  be  filled  with  various 
soft  goods,  such  as  handkerchiefs,  ribbons,  etc., 
also  sweets  and  bonbons  for  distribution. 


116  ^aflic 

A  solid  wooden  cannon  hall. — This  should  have 
a  three-quarter  inch  hole,  two  inches  deep,  bored 
in  it  toward  the  centre,  for  facility  in  introduc- 
ing it  into  the  hat. 

A  harher'^  s  jpole^  about  thirty  feet  long  and  four 
inches  to  five  inches  thick  at  the  hase. — This  is 
made  with  stout  colored  paper,  and  pulls  out 
from  the  centre.  If  the  pole  be  constructed  of 
red,  white,  and  blue  paper  the  performer,  when 
introducing  the  trick,  may  announce  that  he  is 
about  to  erect  the  American  Colors  at  the  North 
Pole. 

A  howl  of  gold  fish. — This  really  consists  of 
two  bowls,  one  within  the 
other.  The  space  between 
the  two  contains  the  water 
and  fish,  which  are  inserted 
through  a  hole  in  the  bot- 
tom of  the  outer  bowl, 
the  latter  being  afterward 
corked.  The  inside  bowl 
Fig.  27.— Bowl  of  is  filled  with  bonbons,  etc. 
Gold  Fish  ^pig^  27).     The  fish  used  are 

imitation,  being  made  from  pieces  of  carrot  cut 
to  shape. 

A  large  cage  containing  a  live  canary. — The 
cage,  which  is  telescopic  in  action,  the  upper  part 


1)at  trrlcfta  117 

sliding  down  into  the  lower,  is  nearly  twice  the 
height  of  the  hat,  and  when  once  taken  out  can- 
not be  put  back.  This  is  owing  to  the  fact  that 
the  seed  boxes,  which  in  their  normal  position 
are  on  the  inside,  revolve  on  spring  pivots,  as  the 
cage  is  withdrawn,  thus  making  it  impossible  to 
return  it  to  the  hat  until  they  are  replaced. 

Twenty  pint  tumblers^  ruby  and  green. — These 
are  made  in  celluloid  and  fit  one  in  the  other. 
They  are  all  of  the  same  size,  but  being  very 
thin  occupy  very  little  more  space  than  a  single 
one. 

8ix  cJiamjpagne  bottles. — These  are  not  quite  so 
substantial  as  they  look,  being  merely  half- 
bottles  in  thin  metal,  japanned  black,  and  deco- 
rated with  labels  taken  from  the  genuine  article. 
A  bottle  with  a  horizontal  division  in  the  centre, 
the  upper  part  containing  wine,  and  the  lower 
part  a  tumbler,  is  generally  introduced  with  the 
shells. 

A  small  rabbit. 

A  Chinese  doll. — Obtain  a  doll's  head,  five 
inches  in  diameter,  from  any  Oriental  store,  and 
drape  it  with  a  silk  skirt.  If  a  hole  be  cut  in 
the  top  of  the  head  it  can  be  utilized  in  the  same 
manner  as  the  cannon  ball. 

A  skull  which  rises  spontaneously  from  the  hat. 


118  ^agtc 

— This  is  a  model  in  papier-mache,  and  being 
hollow,  is  very  serviceable.  It  is  caused  to  rise 
from  the  hat  by  means  of  a  black  thread,  which 
is  carried  through  a  staple  in  the  flies  immediately 
over  the  performer's  table,  thence  through  an- 
other staple  behind  the  wings,  and  down  to  the 
assistant. 

It  is  not  my  intention  to  give  directions  for 
making  these  goods,  as  they  can  be  bought  at  a 
very  small  cost  from  any  of  the  dealers  in  mag- 
ical apparatus.  I  have  found  by  experience  that 
this  is  the  best  course  to  pursue.  Amateur  work 
is,  as  a  rule,  very  commendable,  but  scarcely  so 
as  regards  conjuring,  clumsy  and  ill-made  ap- 
paratus being  absolutely  useless,  and  conse- 
quently dear  at  any  price.  Apart  from  this  I 
have  another,  and  what  I  believe  to  be  a  more 
important  object  in  view,  viz.,  that  of  giving  in- 
struction in  the  actual  working  of  the  trick. 

It  will  be  at  once  obvious  to  the  reader  that 
the  chief  element  in  the  magical  production  of 
articles  from  a  borrowed  hat,  is  the  manner  in 
which  they  are  secretly  introduced,  as,  should 
this  be  detected,  the  trick  would  fail  ignomini- 
ously.  The  main  secret  lies  in  the  combination 
of  the  looks  and  gestures  of  the  performer  to 
misdirect    the    audience.     The    articles  for  the 


1bat  tTricfts 


119 


most  part  are  introduced  under  cover  of  natural 
movements,  quickness  being  of  little  or  no  avail. 
I  will  now  describe  one  or  two  methods  em- 
ployed to  effect  this  desideratum. 


Loading. — Under    this 


heading 


I  shall  en- 
deavor to  give  the  working  of  a  hat  trick  as 
actually  presented  to  an  audience,  using  for  the 
purpose  articles  selected  from  the  preceding  list. 
The  following  preparations  must  be  made  : — 

A  small  rabbit  is  placed  in  the  right  hand 
profonde,  and  a  billiard  ball  and  a  small  dinner 
plate  are  laid  on  the  table. 

A  packet  of  one  hundred  spring  flow- 
ers, secured  by  a  band  of  tissue  paper, 
must  be  in  the  hands  of  the  assistant 
at  the  right  wing  ;  and  another  similar 
packet  must  be  placed  in  the  profonde 
on  the  left  side. 

The  sash  ribbon,  folded  as  instructed, 
is  tied  round  the  fancy  boxes  together 
with  the  string  of  sausages,  with  black 
tape.  The  parcel  is  suspended  behind 
the  back  of  a  chair  by  means  of  a  pin 
and  a  double  loop  of  florist's  wire 
(Fig.  28),  the  tape  being  passed  through  the  small 
loop,  which  is  then  hung  on  the  pin.     This  leaves 


Fig.  28.— 

Double 
Wire  Loop 


120  /IBagic 

the  large  loop,  the  use  of  which  will  be  noted  in 
due  course,  sticking  up  over  the  back  of  the 
chair,  where,  however,  it  is  quite  invisible  at  a 
few  paces. 

The  twenty  pint  tumblers  are  wrapped  up  in  a 
piece  of  colored  sash-ribbon  and  tied  round  with 
tape  to  which  is  attached  a  loop  of  wire.  Thus 
prepared  they  are  placed  in  the  capacious  breast 
pocket  on  the  left  side,  the  loop  projecting  so  that 
the  thumb  of  the  right  hand  can  be  passed  through 
it  and  the  package  withdrawn. 

The  bundle  of  wood,  containing  the  coil  of 
ribbon,  baby  linen,  and  feeding  bottle,  must  be  in 
readiness  on  the  servante  at  the  back  of  a  second 
chair. 

The  skull,  cannon  ball,  or  globe  of  gold  fish, 
whichever  the  performer  intends  to  use,  is 
located  on  the  servante  at  the  back  of  the  table. 

The  next  thing  to  do  is  to  obtain  the  loan  of  a 
hat,  and  having  done  so,  it  is  well  to  perform  a 
preliminary  experiment  with  the  same.  A  very 
good  one  is  that  known  as 

The  Magnetized  Hat. — The  performer  places 
his  hand,  perfectly  empty,  on  the  crown  of  the 
hat,  which  forthwith  adheres  to  the  palm,  and  in 
this  position  it  can  be  moved  about  and  turned 


Dat  Zxic\{5  121 

over  iu  any  direction.  The  finger  tips  are  then 
used  in  place  of  the  palm  with  the  same  result. 
Finally,  a  silk  handkerchief  is  thrown  over  the 
hat,  and  the  palm  of  the  hand  placed  thereon,  but 
the  effect  is  still  the  same. 

This  seeming  impossibility  is  accomplished 
with  the  aid  of  the  little  piece  of  apparatus 
illustrated  in  Fig.  29.  It  consists  of  a  brass  plate 
fitted  with 
two  bent  pins 
as  shown,  the 
whole  be- 
ing painted 
black.  The 
pins  should' 
be      situated 

so     that    by 
-,      •  ji         Fig.  29. — Apparatus  for  Magnetized  Hat 

two  middle  fingers  between  them  the  hat  can  be 
raised.  The  working  of  the  trick  will  now  be 
readily  understood.  The  clip  must  be  pressed 
into  the  crown  of  the  hat  while  returning  with  it 
to  the  stage,  the  pin  on  the  left  of  the  figure  be- 
ing inserted  first.  The  clip  is  removed,  with  the 
handkerchief,  in  the  final  stage  of  the  trick. 

The  ball  and  plate  are  now  given  for  exami- 
nation^ and  while  all  attention  is  riveted  on  these 


122  /Ibagtc 

two  articles,  ample  opportunity  will  be  found  lo 
introduce  the  rabbit  unobserved,  which  should  be 
done  while  amongst  the  audience.  The  hat  is 
then  covered  with  the  plate,  in  which  condition  it 
is  carried  back  to  the  stage,  and  placed  on  the  table. 

The  performer  now  takes  the  ball,  and  vanishes 
it  by  palming ;  appearing  to  pass  it  through  the 
plate  into  the  hat.  The  plate  is  then  removed, 
and  the  ball  taken  from  the  hat  with  the  right 
hand,  followed  immediately  by  the  rabbit. 

The  hat  is  now  taken  in  the  left  hand,  and  the 
rabbit  handed  to  the  assistant  at  the  wings  with 
the  j'ight.  The  assistant  takes  the  rabbit,  and  at 
the  same  time,  under  cover  of  the  wing,  gives  the 
performer  the  packet  of  flowers ;  the  hat  being 
immediately  placed  in  the  right  hand  to  conceal 
their  presence. 

While  drawing  attention  to  the  outside  of  the 
hat,  the  tissue  paper  is  broken  with  the  fingers, 
and  the  flowers  are  released.  They  are  then 
shaken  out  slowly  on  to  a  large  sheet  of  black 
alpaca,  which  should  be  spread  over  the  stage  to 
receive  them.  While  this  is  being  done,  the  pack- 
age is  obtained  from  the  profonde,  the  hat  being 
changed  over  into  the  left  hand,  and  the  second 
load  thus  introduced. 

When  the  flowers  have  all  been  shaken  from 


Dat  ^ricfts  123 

the  hat,  take  it  in  the  right  hand,  fingers  inside 
and  thumb  out,  and  approach  the  chair  (this 
should  be  on  your  right)  on  which  is  the  bundle 
of  ribbons,  etc.  Take  the  top  of  the  chair  in  the 
hand  holding  the  hat,  and  in  doing  so,  push  the 
forefinger  through  the  loop  of  wire.  Kow  move 
the  chair  away  a  few  paces,  and  when  removing 
the  hand  from  the  back  bring  away  the  load, 
wliich  will  fall  into  the  hat  unobserved.  Leave 
the  hat  on  the  chair,  and  take  up  the  alpaca  con- 
taining the  flowers,  putting  it  on  one  side. 

Up  to  this  point,  no  one  will  suspect  that  the 
hat  contains  anything,  as  what  you  have  done  has 
been  but  natural  in  the  preparation  of  the  stage 
for  the  next  trick. 

The  boxes  are  now  taken  from  the  hat  and 
placed  on  the  table,  followed  by  the  sausages. 
When  removing  the  latter,  some  amusement  may 
be  caused  by  referring  to  them  as  "  an  indefinable, 
condimental  amalgamation  of  membranaceous 
disintegrations." 

The  ribbon  is  next  pulled  from  the  hat  in  long 
lengths  with  the  right  hand,  and  when  the  hand 
contains  a  large  quantity,  the  thumb  is  slipped 
through  the  wire  loop  attached  to  the  tumblers 
in  the  breast  pocket.  These  are  introduced  when 
inserting  the  hand  to  take  out  the  next  length  of 


124  /IRaaic 

ribbon.  The  introduction  of  tlie  tumblers  cannot 
be  detected,  owing  to  the  presence  of  the  ribbon 
in  which  they  are  wrapped.  When  the  whole  of 
the  ribbon  has  been  extracted,  it  is  thrown  over 
the  back  of  the  chair,  behind  which  is  the  bundle 
of  wood. 

The  tumblers  are  now  taken  from  the  hat,  and 
placed  on  the  table. 

The  performer  then  takes  up  the  ribbon  from 
the  chair,  and  makes  an  effort  to  return  it  to  the 
hat,  thereby  drawing  attention  to  its  great  bulk, 
and  remarking,  "  Now,  how  do  you  suppose  I  am 
going  to  get  home  with  this  ?  Why,  I  shall  re- 
quire at  least  two  cabs." 

It  is  needless  to  say  that  under  cover  of  the 
ribbon  the  bundle  of  wood  is  introduced  into  the 
hat.  The  baby  linen,  feeding  bottle,  and  coil, 
are  now  produced,  and  finally  the  wood  itself. 
It  is  usual  when  taking  the  ribbon  from  the  hat 
to  spin  it  out  on  the  wand. 

Holding  the  hat  by  the  brim,  fingers  inside  and 
thumb  out,  the  performer  lowers  it  for  an  instant 
to  the  rear  edge  of  the  table,  and  by  inserting 
the  middle  finger  of  the  hand  into  the  hole  in 
the  cannon  ball  scoops  it  up  into  the  hat,  which  is 
forthwith  raised  and  placed  crown  downward 
on  the  table. 


1bat  ^r(cft0  125 

This  movement  should  be  executed  with  the 
leit  hand  while  the  right  lays  the  bundle  of  wood 
down  on  the  table,  and,  if  necessary,  makes  room 
for  the  next  production. 

The  fish  bowl,  or  skull,  would  of  course  be 
worked  in  a  similar  manner. 

From  the  foregoing  it  will  be  seen  that  with  a 
little  expenditure  of  ingenuity  and  trouble  a  hat 
trick  can  be  carried  on  to  an  almost  indefinite 
period.  It  should  not,  however,  in  any  case  ex- 
ceed fifteen  minutes.  I  have  taken  the  preced- 
ing list  simply  as  an  illustration  of  the  way  in 
which  the  various  movements  are  combined  to 
appear  natural  and  thus  avoid  detection,  also  as 
a  basis  on  which  the  student  may  arrange  a  hat 
trick  of  his  own.  Any  articles  can,  of  course,  be 
substituted  for  those  given,  or  the  list  may  be 
supplemented  by  others,  or  cut  down  as  occasion 
may  require.  An  amount  of  sang  froid  and  bold- 
ness, only  acquired  from  years  of  actual  practice, 
is  necessary  to  execute  a  good  hat  trick  fault- 
lessly ;  but  this  should  not  disconcert  the  reader, 
as  it  is  only  in  accordance  with  what  must  be 
expected  in  the  acquisition  of  an  art. 

To  Produce  a  number  of  Eggs  from  a 
Hat  held  Crown  upward. — For  this  purpose 


126  /Dyadic 

you  must  be  provided  with  a  black  linen  bag, 
oval  in  shape,  and  large  enough  to  contain  the 
required  number  of  eggs.  To  one  end  of  this  bag 
is  sewn  an  ordinary  tie  clip,  the  other  end  being 
cut  off  and  provided  with  a  piece  of  elastic  so  that 
eggs  placed  therein  cannot  come  out  unless 
pressure  be  applied  with  the  hand.  The  bag  is 
loaded  into  the  hat  by  one  or  other  of  the 
methods  described,  and  attached  to  the  lining  of 
the  same  by  means  of  the  clip.  Under  these 
circumstances  the  production  of  the  eggs  from 
the  inverted  hat  will  be  an  easy  matter.  The 
eggs  used  should  be  blown  ones. 

The  bag  should  be  allowed  to  remain  in  the 
hat  after  the  last  egg  has  been  taken  from  it, 
and  removed  later  under  cover  of  some  other 
article. 


CHAPTER  YII 

ANTI-SPIRITUALISTIC  TRICKS 

The  ClimbijN^g  Ei^^g. — The  performer  having 
obtained  the  loan  of  a  lady's  ring,  passes  it  over 
the  end  of  his  wand,  which  he  then  holds  in  a 
perpendicular  position.  The  ring  now  com- 
mences to  climb  up  the  wand  very  slowly,  stop- 
ping or  descending  at  command  ;  finally  it  jumps 
right  off  the  wand  and  is  caught  by  the  per- 
former, who  immediately  hands  it  back  to  the 
lady. 

This  pretty  experiment  depends  entirely  upon 
a  black  silk  thread,  about  twice  the  length  of  the 
wand,  to  which  it  is  fixed  at  the  uppermost  end. 
The  means  by  which  the  thread  is  attached  may 
vary,  but  a  good  plan  is  to  make  a  very  small 
knot  in  the  end  of  the  thread,  which  is  then 
passed  through  a  fine  slit  cut  in  the  end  of 
the  wand,  the  knot  making  all  secure.  The 
thread  is  then  passed  down  the  side  of  the  wand, 
in  which  position  it  will  not  be  noticed.  The 
ring  is  now  dropped  over  the  wand,  and  conse- 

127 


128  USa^Qic 

quently  over  the  thread,  by  the  manipulation  of 
which  it  may  be  caused  to  rise  or  fall,  or,  in  re- 
sponse to  a  sharp  tug,  to  jump  right  off  the 
wand.  The  wand  is  usually  held  in  the  left 
hand,  while  the  right,  in  which  is  the  end  of  the 
thread,  holds  the  lapel  of  the  coat,  when  all 
that  is  necessary  to  obtain  the  desired  result  is  to 
move  the  left  hand  to  or  from  the  body  as  re- 
quired. 

The  Mysterious  N"ame. — This  is  a  capital 
trick,  and  one  that  can  be  introduced  at  any 
time.  The  performer  borrows  a  visiting  card 
from  any  stranger  in  the  company,  and,  holding 
it  between  the  thumb  and  the  second  finger  of 
the  hand,  he  waves  it  about  very  slowly,  at  the 
same  time  asking  some  one  to  call  out  the  name 
of  any  celebrity.  This  having  been  done  the 
card  is  almost  immediately  handed  back  to  the 
owner,  who  finds  the  selected  name  written 
thereon. 

This  ingenious  trick  is  accomplished  with  the 
aid.  of  a  small  accessory  in  the  shape  of  a  thimble, 
to  the  end  of  which  is  attached  a  small  piece  of 
pencil  about  a  quarter  of  an  inch  in  length. 
This  thimble  having  been  placed  on  the  forefinger 
of  the  hand,  it  will  be  found,  by  experiment, 


2lnti*Splritual(5tlc  ^rlcfts  129 

that  the  name  may  very  easily  be  written  on  the 
back  of  a  card  held  as  instructed. 

Prior  to,  and  immediately  after  the  trick,  the 
thimble  may  be  palmed  as  instructed  elsewhere. 

A  jSTe^v  Postal  Trick. — This  is  very  useful, 
as  it  can  be  employed  in  conjunction  with  any 
trick  where  a  word,  message,  total  of  sum,  etc., 
is  to  be  produced  in  a  magical  manner.  An  ordi- 
nary postcard  is  handed  to  a  spectator  with  a 
request  that  he  will  tear  a  small  piece  from  one 
corner,  and  having  done  so,  hand  both  portions 
back  to  the  performer.  The  corner  is  laid  on  the 
table  and  the  card  torn  up  into  small  pieces  which 
are  then  placed  in  the  magic  pistol  (see  p.  61), 
and  fired  at  a  borrowed  hat.  The  card  is  after- 
ward produced  from  the  hat  covered  with  writ- 
ing, and  fully  restored  with  the  exception  of  the 
corner,  which  on  being  fitted  to  the  card  is  found 
to  correspond  in  every  way. 

The  trick  is  accomplished  with  the  aid  of  a 
second  card  prepared  with  the  necessary  writing, 
and  from  which  a  corner  has  been  removed. 
This  card  is  secretly  introduced  into  the  hat  when 
returning  with  it  to  the  stage.  The  performer, 
having  palmed  the  portion  missing  from  the  card 
in  the  hat,  makes  an  exchange  when  laying  the 


130  /IRaatc 

corner  on  the  table.  The  plain  card  is  then  torn 
into  fragments,  and  together  with  its  corner  is 
placed  in  the  pistol,  which  is  then  fired  at  the  hat. 
It  is  well  to  place  a  piece  of  paper  in  the  mouth  of 
the  cone  to  receive  the  torn  pieces  of  card,  as  by 
this  means  the  danger  of  dropping  any  on  the 
floor  is  obviated. 

An  additional  effect  may  be  obtained  by  having 
previously  placed  in  the  body  of  the  pistol  a  piece 
of  paper  containing  a  powder  for  producing 
colored  fire,  when,  after  having  disposed  of  the 
cup  containing  the  torn  card,  you  appear  to  over- 
hear a  remark  to  the  effect  that  you  have  put 
something  in  your  pocket,  to  which  you  reply, 
"No,  I  certainly  did  not  put  anything  in  my 
pocket.  See,  here  is  the  paper  containing  the 
card  "  (really  the  package  of  colored  fire).  The 
package  of  powder  is  then  laid  on  a  plate  and 
fired,  after  which  the  card  is  removed  from  the 
hat. 

New  Slate  Thicks. — Under  this  heading  will 
be  noticed  several  methods,  all  of  recent  in- 
vention, for  performing  the  well-known  slate 
trick. 

First  Method. — Two  ordinary  school  slates 
are  given  into  the  hands  of  a  spectator,  who,  after 


Hntl*Sp(rltuall5tlc  Zxic\{3  131 

making  a  careful  examination,  ties  them  together 
with  stout  cord,  in  which  condition  they  are 
placed  in  the  cabinet.  Writing  is  immediately 
heard,  and  when  it  ceases  the  slates  are  at  once 
handed  out  to  the  performer,  who  on  separating 
them  finds  the  required  message. 

The  secret  lies  in  the  fact  that  the  medium  is 
provided  with  two  small  wooden  wedges ;  also 
an  umbrella  rib,  to  which  at  one  end  is  fitted  a 
minute  piece  of  pencil.  All  he  has  to  do,  there- 
fore, is  to  force  the  wedges  between  the  slates  on 
one  side  until  sufficient  space  is  provided  for  the 
insertion  of  the  rib,  when  the  writing  of  the 
message  will  be  found  an  easy  matter. 

Secoxd  ^Ietiiod. — In  this  case  the  two  slates, 
after  examination,  may  be  actually  screwed  to- 
gether with  iron  bolts,  but  in  spite  of  this  pre- 
caution writing  is  obtained  as  before. 

Under  these  circumstances  the  performer  is 
provided  with  a  piece  of  prepared  chalk — not  the 
conventional  commodity  as  sold  by  every  chemist, 
but  prepared  by  coating  a  piece  of  steel,  about 
the  size  of  a  pea,  with  chalk  paste,  which  is  then 
allowed  to  dry.  The  piece  of  chalk  is  placed  be- 
tween the  two  slates,  which  are  then  bolted  to- 
gether and  put  into  the  cabinet ;   when,  under 


132  /Iftaglc 

the  influence  of  a  powerful  horseshoe  magnet 
passed  over  the  outside  of  one  slate  as  required, 
the  prepared  chalk  will  produce  the  spirit 
writing. 

Third  Method  (one  slate  only). — After 
examination  the  slate  is  held  by  the  performer 
above  his  head,  when  almost  immediately  writ- 
ing is  heard  ;  and  on  the  slate  being  turned  round 
it  is  found  to  contain  the  desired  message. 

The  slate,  a  small  one  for  preference,  is  provided 
with  a  loose  vulcanite  flap  covering  one  side,  and 
concealing  the  writing  which  is  already  there. 
The  performer  hands  the  slate  round  for  exami- 
nation (keeping  the  flap  in  position  by  means  of 
the  fingers),  and  asks  a  spectator  to  initial  it  in 
one  corner  to  satisfy  himself  that  it  is  not  ex- 
changed. This  having  been  done,  and  while  re- 
turning to  the  stage,  the  performer  removes  the 
flap  under  cover  of  his  body  and  places  it  in  the 
vest,  or  in  the  large  pocket  in  the  breast  of  the 
coat.  He  then  holds  the  slate  above  his  head, 
fingers  in  front  and  thumbs  behind.  The  sound 
of  writing  is  produced  by  scratching  with  one 
thumb  on  the  back  of  the  slate,  and  when  this 
has  been  continued  long  enough  the  message  is 
revealed. 


Bnti=Spirltuall6tlc  n:ricft6  133 

Fourth  Method  (ois'e  slate  oxly). — In  this 
instance  the  slate,  which  is  an  ordinary  one,  is 
shown  to  be  clean  on  both  sides,  in  which 
condition  it  is  given  to  a  spectator  to  hold. 
The  performer  then  takes  a  pistol  and,  at  a 
few  paces,  fires  direct  at  the  slate,  on  which, 
immediately  after  the  report,  the  message  is 
discovered. 

To  produce  this  startling  effect  all  that  is  neces- 
sary is  to  write  the  message  on  the  slate  with 
glycerine  just  before  commencing  the  trick,  and 
to  load  the  pistol  with  a  small  charge  of  powder, 
on  the  top  of  which  is  placed  a  quantity  of 
powdered  chalk. 

The  Spirit  Handkerchief. — The  effect  of 
this  trick,  Avhich  is  exceptionall}"  good,  is  as  fol- 
lows : — Several  knots  having  been  tied  in  a  large 
silk  handkerchief  borrowed  from  a  member  of 
the  audience,  it  is  thrown  on  the  floor  of  the 
stage  when  it  immediately  begins  to  act  as 
if  it  were  a  live  snake,  twisting  and  twirling 
about  in  every  conceivable  form.  The  per- 
former passes  his  wand  over,  under,  and  all 
round  the  handkerchief,  thus  proving  to  the 
satisfaction  of  the  most  astute  that  there  are  no 
connections. 


134  /IRagic 

It  is  hardly  necessar}^  to  say,  however,  that  in 
spite  of  such  convincing  proof  to  the  contrary, 
connection  is  actually  made  with  the  handker- 
chief, and  it  is  done  in  the  following  manner : — 
A  fine  black  silk  thread  is  stretched  across  the 
stage  from  one  wing  to  the  other,  the  ends  being 
in  the  hands  of  two  assistants.  Having  obtained 
the  loan  of  the  handkerchief,  the  performer, 
standing  behind  the  thread,  takes  it  diagonally 
by  two  corners  and  twists  it  up  rope  fashion. 
He  then  ties  three  knots  in  it,  one  a  little  below 
the  centre,  one  a  little  above  the  centre,  and  the 
third  at  one  end.  While  this  is  being  done  the 
assistants  raise  the  thread  round  which  the  last 
knot,  forming  the  head  of  the  snake,  is  actually 
tied  ;  but  owing  to  the  thread  being  invisible  this 
will  pass  unobserved. 

Having  made  the  last  knot  the  performer  drops 
the  handkerchief  on  the  floor,  when  its  emulation 
of  a  live  snake  will  depend  entirely  on  the  adroit 
manner  in  which  the  assistants  manipulate  the 
thread.  Finally,  it  should  be  made  to  jump  into 
the  hand  of  the  performer,  who  should  at  once 
hand  it,  with  the  knots  still  tied,  to  the  owner. 
This  is  managed  by  the  assistant  at  one  end 
dropping  the  thread  and  the  other  one  pulling  it 
clear  of  the  handkerchief. 


Bnti^Splritualistfc  Zvicl{6  135 

The  Mysterious  Commuxicatio^". — This 
trick,  which  is  a  very  good  one,  is  performed  by 
a  method  very  little  known.  The  effect  is  as  fol- 
lows : — Any  person  writes  on  a  piece  of  paper 
any  word  or  series  of  words  to  form  a  short 
sentence,  and  having  done  so,  folds  the  paper  and 
puts  it  in  his  pocket.  At  this  stage  the  performer 
introduces  a  reel  of  telephonic  wire,  the  end  of 
which,  containing  a  loop,  is  handed  to  the  writer, 
with  a  request  that  he  will  place  the  loop  over 
the  ball  of  the  left  thumb.  This  having  been 
done,  the  performer  places  the  reel  against  his 
forehead,  and,  after  a  few  seconds'  thought,  writes 
the  message,  or  an  answer  thereto,  on  the  black- 
board. 

To  obtain  this  result,  all  that  is  necessary  is  to  be 
provided  with  a  piece  of  paper  smeared  over  on  one 
side  with  white  wax,  or  common  washing  soap ; 
also  a  slab  of  plate  glass  by  way  of  writing  board. 
The  paper  is  placed  on  the  glass,  waxed  side 
downward,  in  which  condition  the  assistant 
takes  it  to  a  gentleman  in  the  audience.  When 
writing  on  the  paper  a  very  faint  impression,  in- 
visible to  any  one  who  does  not  actually  look  for 
it,  is  obtained  on  the  glass.  In  the  act  of  taking 
the  glass  back  from  his  assistant  the  performer 
obtains  the  desired  cue.     The  use  of  the  wire  is 


136  /IBaafc 

optional,  but,   of   course,  it  adds  much  to  the 
effect  of  the  trick. 

The  Great  Dictionary  Trick  (new 
method). — This  is  an  improvement  on  the  old 
trick  under  this  name,  as  any  dictionary  may  be 
used,  whereas  formerly  the  trick  depended  en- 
tirely upon  a  dictionary  composed  of  one  page 
repeated  throughout.     The  effect  is  as  follows : 

The  performer  hands  a  sealed  envelope  to  a 
spectator,  asking  him  to  take  care  of  it,  and  not 
break  the  seal  until  requested.  A  dictionary  is 
then  given  for  examination,  after  which  a  lady 
inserts  in  it,  at  any  page,  a  playing  card.  A 
counter  bearing  a  number,  say  twenty-seven,  is 
taken  from  a  bag  containing  fifty,  all  numbered 
differently ;  the  dictionary  is  opened  at  the  page 
containing  the  card,  and  due  note  is  taken  of 
the  twenty-seventh  word  indicated  by  the  counter, 
and  which  is,  we  will  suppose,  "  Magic."  The 
gentleman  is  next  requested  to  open  the  envelope, 
and  on  doing  so  finds  to  his  astonishment  that  it 
contains  a  card  on  which  is  written  "  Magic,  n, 
sorcery ;  enchantment,"  in  exact  accordance  with 
the  word  chosen,  apparently  by  chance,  from  the 
dictionary. 

The  seeming  mystery  is  easily  explained.     Ob- 


Bnt(*Splr(tuallstlc  ZxiCke  137 

tain  a  new  twenty-five  cent  pocket  dictionary, 
and,  having  opened  it  somewhere  about  the 
middle,  bend  the  covers  right  back  until  they 
touch  each  other.  Any  new  book  used  thus  will 
ever  afterward,  unless  otherwise  maltreated, 
open  readily  at  the  same  page.  After  the  dic- 
tionary has  been  examined  the  performer  allows 
it  to  fall  open  at  this  page,  into  which  he  secretly 
introduces  a  playing  card  previously  palmed  in 
his  right  hand.     The  book  is  then  closed. 

The  performer,  still  holding  the  book,  gives  a 
card,  identical  in  every  respect  with  the  other 
one,  to  a  lady,  with  a  request  that  she  will  insert 
it  between  the  leaves  in  any  position  and  push  it 
right  into  the  book.  The  performer,  of  course, 
takes  care  that  the  two  cards  do  not  clash.  In 
this  condition  the  dictionary  is  laid  on  the  table. 

A  small  bag,  preferably  of  silk,  is  next  intro- 
duced, from  which  the  performer  takes  a  handful 
of  counters  numbered  from  one  to  fifty  and  gives 
them  for  examination,  after  which  they  are  re- 
turned to  the  bag.  Any  person  is  now  allowed 
to  place  his  hand  in  the  bag  and  remove  one 
counter,  but  it  is  needless  to  say,  however  care- 
ful he  may  be,  the  number  chosen  will  be  twenty- 
seven,  which  is  accounted  for  by  the  fact  that  the 
bag  is  provided  with  a  division  through  its  entire 


138  /IBagic 

length,  forming  two  pockets,  one  of  which  con- 
tains the  counters  numbered  one  to  fifty,  and  the 
other,  fifty  counters  all  bearing  the  same  number, 
i.  d.,  twenty-seven. 

The  dictionary  is  now  opened  by  the  performer 
at  his  own  page,  which  every  one  will  take  to  be 
the  one  chosen  by  the  lady ;  some  one  is  asked  to 
note  the  twenty-seventh  word  on  that  page  as 
indicated  by  the  counter,  the  trick  being  brought 
to  a  conclusion  as  already  described. 

The  performer  can  always  ensure  the  left-hand 
page  of  the  opening  being  read,  by  holding  the 
book,  with  the  card,  in  such  a  position  that  the 
twenty-seventh  word  on  the  right-hand  page  can- 
not be  seen.  Care  must  also  be  taken  not  to 
expose  the  duplicate  card. 

By  way  of  variation  the  chosen  word  may  be 
produced  with  the  sympathetic  ink,  or  it  may  be 
revealed  by  the  method  employed  in  "A  New 
Postal  Trick." 

For  the  above  trick,  in  the  form  described,  I  am 
indebted  to  Mr.  Maurice  Victor,  a  most  skilful  ex- 
ponent of  sleight  of  hand. 

LoKG-DiSTANCE  SECOND  SiGHT. — Two  per- 
formers, usually  a  lady  and  a  gentleman,  are 
required  for  this  seance.     The  gentleman  intro- 


BntisSpirttualtetfc  Cricfts  139 

duces  the  lady,  who  is  then  escorted  by  a  com- 
mittee, chosen  from  the  audience,  to  a  room  in  a 
different  part  of  the  house,  in  which  she  is 
secured  under  lock  and  key.  Several  of  the 
committee  then  guard  the  room,  while  the  others 
return  to  the  concert-hall  and  give  the  performer 
the  following  particulars : — Time  shown  by  any 
watch  (not  necessarily  the  proper  time) ;  initials 
of  any  person  in  the  room ;  any  number  of  four 
figures ;  any  word  of  four  or  five  letters ;  number 
of  cigarettes  in  any  case,  and  kind  of  case ; 
amount  of  money  in  any  purse,  and  kind  of 
purse.  After  this  has  been  done  a  member  of 
the  committee  takes  pen,  ink,  and  paper  to  the 
lady,  who  immediately  writes  down  the  time, 
initials,  number,  etc. ;  these,  on  examination,  are 
found  to  be  correct,  although  she  has  never  left 
the  room,  neither  has  the  performer  left  the  stage, 
and  no  connection  of  any  description  exists  be- 
tween them. 

This  inexplicable  performance  is  thus  accom- 
plished :  The  performer  is  provided  with  a  small 
writing  pad,  three  and  one-half  inches  by  two 
inches,  consisting  of  a  piece  of  cardboard,  on 
which  are  held,  by  means  of  two  elastic  bands, 
several  cigarette  papers.  This  pad,  together  with 
a  small  piece  of  soft  lead  pencil,  is  placed  in  the 


140  ^afltc 

right-hand  trousers  pocket.  As  the  various  items 
are  called  out,  the  performer  stands  with  his  right 
hand  in  the  pocket,  a  perfectly  natural  attitude, 
and  appears  to  be  thinking  deeply ;  but  he  is 
really  writing  down  the  particulars,  one  under 
the  other,  on  the  cigarette  paper,  which,  with  a 
little  practice,  can  be  done  quite  legibly.  He  then 
tears  off  the  paper  and  rolls  it  into  a  small  bail 
between  the  fingers. 

A  piece  of  plain  paper  is  now  obtained  from 
any  member  of  the  audience,  in  order  to  prove 
that  a  prepared  piece  is  not  used,  and  together 
with  a  fountain  pen,  supplied  by  the  performer, 
is  taken,  by  one  of  the  committee,  to  the  lady. 
While  the  paper  is  being  obtained  the  performer 
has  ample  time  to  remove  the  cap  from  the  pen, 
and,  before  placing  it  on  the  opposite  end  of 
the  pen  in  the  place  provided  for  it,  he  inserts  in 
it  the  small  ball  of  paper,  which  is  thus  secretly 
carried  to  the  lady.  On  receipt  of  the  pen  and 
paper  the  lady  requests  to  be  left  alone  for  a  few 
seconds,  as  otherwise  she  will  not  be  able  to 
obtain  the  aid  of  "  the  spirits,"  and  in  the  absence 
of  the  committeeman  she  takes  a  hairpin,  and 
with  it  extracts  the  ball  of  paper  from  the  pen, 
reads,  and  writes  out  the  required  information. 

It  is   necessary  that  the  order  in  which  the 


Bntl*Spirltuali0tic  ZTrlcfes  141 

various  items  are  called  out  should  be  known 
alike  to  the  performer  and  medium,  as  otherwise 
the  "  time  "  might  be  mistaken  for  the  "  number," 
and  other  errors  might  occur.  A  number  of  let- 
ters to  indicate  the  various  kinds  of  purses  and 
cigarette  cases,  as  "  L  "  for  leather,  "  S  "  for  silver, 
etc.,  should  also  be  agreed  on  between  the  two 
parties. 

It  will  be  obvious  that  the  above  trick  is  sub- 
ject to  much  variation  according  to  the  taste  of 
the  performer,  and  may  be  elaborated  if  desired. 
A  throw  of  dice ;  a  person's  age ;  or  the  name  of 
a  selected  card  (write  "8  D  "  for  eight  of  dia- 
monds, etc.)  may  be  substituted  for  any  of  the 
items  given  above. 


CHAPTEK  YIII 

'     AFTER  DINNER   TRICKS 

In  introducing  to  my  readers  a  series  of  simple 
but  effective,  tricks  in  magic,  I  would  state  that 
it  has  been  my  life  study  to  popularize  the  art  of 
sleight  of  hand,  simply  because,  at  the  outset,  I 
was  impressed  with  the  idea  that,  while  having 
no  desire  to  emulate  the  skilled  professional 
magician,  certain  very  novel  and  entertaining 
tricks  were  within  the  reach  of  all  persons  pos- 
sessed with  the  least  desire  to  amuse  their  friends. 

Every  one  is  not  musical ;  every  one  cannot  sing 
or  recite  ;  but  every  one  can,  with  but  little 
practice,  learn  to  perform  the  following  tricks, 
and  thus  put  themselves  in  a  position  to  brighten 
what  might  otherwise  prove  to  be  a  dull  evening. 

The  Chinese  Cross. — The  only  properties 
required  for  this  excellent  little  trick  are  six  stout 
straws  of  the  kind  used  for  lemonade,  and  the 
small  metal  accessory  shown  at  A  in  Fig.  30. 
The  straws  are  fashioned  into  the  form  of  across 
as  shown  in  the  figure,  which  is  about  half  the 
142 


Bttcr  Dinner  G^rtcfts 


143 


actual  size.  It  will  be  observed  that  pins  are 
passed  longitudinally,  through  the  three  straws 
at  each  extremity  of  the  structure  ;  this  is  done 
with  a  view  to  keeping  it  perfectly  flat,  other- 
wise the  binding  where  the  two  pieces  intersect 
would  not  be  effectual.  The  piece  of  metal  is 
next  pushed  into  the  centre  straw  at  the  foot  of 
the  cross  in  such  a  manner  that  it  will  not  readily 


P 


A 


1"? 


Fig.  30.— Chinese  Cross 

fall  out,  and  so  as  to  be  entirely  covered  with  the 
exception  of  the  sharp  needle  point.  The  cross  is 
laid  on  the  palm  of  the  left  hand  ;  the  right  hand 
makes  a  few  passes  over  it,  when  it  is  suddenly 
seen  to  stand  erect,  and  to  rise  or  fall  at  command. 
The  method  of  working  is  as  folio Vv^s: — The 
cross  is  laid  on  the  hand  in  such  a  manner  that 
its  foot,  carrying  the  metal  fake,  point  upward, 
comes   in  contact   with   the  base  of  the  middle 


144  ^agfc 

finger ;  the  point  is  now  inserted  in  the  hard  flesh 
at  the  base  of  the  said  finger,  when  it  will  be 
found  that  to  cause  the  cross  to  lie  flat  on  the 
hand  the  fingers  must  be  bent  at  an  angle  of 
about  sixty  degrees  to  the  palm.  If  the  hand  be 
now  straightened  out  very  slowly  the  cross  will 
rise  gradually  until  it  assumes  a  perpendicular 
position — or  ninety  degrees.  By  a  slight  move- 
ment of  the  fingers,  practically  imperceptible, 
and  if  noticed  at  all  raising  no  suspicion,  the  cross 
is  caused  to  rise  and  fall  as  often  as  desired. 

In  view  of  the  possibility  of  the  cross  being 
"  snatched  "  by  a  person  overanxious  to  discover 
the  secret,  care  should  be  taken  to  see  that  the 
metal  fake  is  attached  to  the  hand  more  firmly 
than  to  the  centre  straw.  Perhaps  the  better 
way  would  be  to  work  the  trick  w^th  the  fake 
attached  to  the  hand  from  the  commencement, 
then  the  cross  may  be  given  for  examination  at 
any  time. 

The  Floating  Metal  Disc. — Here  a  metal 
disc  about  the  size  of  a  quarter  is  caused  to  sink 
or  swim  at  command  in  water  contained,  for  con- 
venience, in  a  shallow  glass  tray. 

The  secret  in  this  case  depends  upon  duplicity ; 
in  reality  there  are  two  discs,  the  one  an  exact 


Bftec  2>fnncr  ^ricfts  145 

duplicate  of  the  other  in  appearance,  but  con- 
siderably lighter  in  weight.  Aluminium  and  zinc 
are  alike  in  appearance  and  afford  the  necessary 
disparity,  in  weight. 

The  zinc  disc  is  given  for  examination,  and  a 
member  of  the  audience  is  requested  to  float  it  on 
the  water ;  he,  of  course,  fails.  On  receiving 
back  the  zinc  disc  the  performer  "rings  "  it  for 
that  in  aluminium  and  proceeds  to  surprise  the 
company.  I  have  arranged  a  special  sleight  of 
hand  change  for  the  trick  as  follows : — You  carry 
a  handkerchief  in  the  left  breast  pocket  and  the 
aluminium  disc  palmed  in  the  left  hand.  On 
receiving  back  the  zinc  disc  in  the  right  hand, 
you  forthwith  seem  to  place  it  in  the  left  hand, 
really  palming  it  and  showing  its  prototype.  The 
right  hand  now  takes  the  handkerchief  from  the 
pocket  and  proceeds  to  dry  what  seems  to  be  the 
wet  zinc  disc.  This  latter  action  gives  an  excuse 
for  the  transfer  of  the  disc  from  one  hand  to  the 
other,  while  the  handkerchief  effectually  con- 
ceals the  "  palm." 

The  disc  is  now  floated.  The  handkerchief  and 
the  zinc  disc  are  now  transferred  in  a  careless 
manner  to  the  left  hand,  which  forthwith  returns 
the  handkerchief  (handkerchief  only)  to  the 
pocket. 


146  /iBagfc 

The  performer  is  now  in  a  position,  at  the  con- 
clusion of  the  floating,  to  repeat  the  exchange 
above,  dry  the  disc,  and  once  more  hand  it  for 
examination. 

It  is  not  absolute!}^  necessary  to  give  the  metal 
for  examination  a  second  time,  in  which  case  the 
duplicate  may,  after  the  first  "  change,"  be  dis- 
posed of  entirely  under  cover  of  returning  the 
handkerchief  to  the  pocket. 

When  apparently  wiping  the  disc  dry  be  care- 
ful that  it  is  never  once  completely  hidden  from 
view,  or  an  exchange  may  be  suspected. 

The  Balanced  Coins. — No  particular  dex- 
terity is  necessary  to  perform  the  trick  I  am 
about  to  describe,  although  considerable  care 
must  be  exercised  for  its  successful  execution^ 
The  performer,  having  obtained  the  loan  of  three 
pennies,  lays  them  in  a  row  on  the  palm  of  the 
left  hand,  in  which  position  they  may  be  inspected 
by  all  present.  He  then,  with  the  thumb  and 
second  finger  of  right  hand,  grasp  the  edges  of 
the  outermost  coins  and  raises  all  into  a  perpen- 
dicular position. 

The  trick  is  performed  with  the  actual  bor- 
rowed coins  ;  the  secret  depends  upon  the 
introduction  of  a  little  accessory  in  the  shape  of 


atter  Blnner  ^tlcfts  147 

a  thin  strip  of  wood  one-quarter  of  an  inch  wide, 
and  in  length  about  one-sixteenth  of  an  inch 
longer  than  the  combined  diameter  of  the  three 
coins.  At  the  commencement  this  strip  of  wood 
is  held  concealed  in  the  left  hand,  being  held 
between  the  base  of  the  thumb  and  the  first  joint 
of  middle  finger.  The  performer  receives  the 
coins  in  the  right  hand,  then  transfers  them  to 
the  left  hand,  secretly  placing  them  in  the  re- 
quired position :  the  coins  effectually  hide  the 
strip  of  wood  and  all  may  be  examined.  Kow 
by  grasping  the  coins,  together  with  the  strip  of 
^vood,  (as  explained  above)  no  difficulty  will  be 
found  in  securing  the  desired  effect.  In  conclu- 
sion the  coins  are  again  laid  carefully  in  the  left 
hand,  then  tossed  with  apparent  carelessness  into 
the  right  hand  and  forthwith  handed  to  the  owner. 
The  strip  of  wood  is  of  course  "  palmed  "  in  the 
left  hand  (as  described  above)  in  the  act  of  tossing 
the  coins  into  the  right  hand. 

Mutilated  Cigarette  Paper. — A  pretty 
little  trick  of  an  impromptu  nature,  in  which 
a  cigarette  paper  having  been  torn  into  a 
number  of  pieces,  the  pieces  being  rolled  up 
into  a  little  ball,  is  afterwards  found  completely 
restored. 


148  /IBagic 

First  Method. — The  performer  is  smoking  a 
cigarette ;  this  is  an  indispensable  condition  of 
the  trick.  By  the  side  of  the  cigarette,  on  the 
right,  concealed  between  the  lips,  is  a  little  paper 
ball  made  from  a  duplicate  whole  paper.  When 
presenting  the  trick,  as  when  smoking  in  the  or- 
dinary way,  the  cigarette  is  occasionally  taken 
between  the  forefinger  and  thumb  of  the  right 
hand ;  experiment  will  also  show  that  the  little 
paper  ball  may  be  removed  and  replaced,  quite 
secretly,  by  holding  it  between  the  finger  and 
thumb  of  same  hand.     (See  Fig.  31.) 

Thus  prepared,  the  performer  hands  packet  of 
papers  to  a  gentleman,  with  a  request  that  he  will 
take  one,  mutilate  it,  and  roll  up  the  fragments 
into  the  form  of  a  little  ball.  While  this  is  being 
done  the  performer  casually  shows  both  hands 
empty,  occasionally  removing  the  cigarette  from 
his  mouth,  and  finally  securing  duplicate  ball. 
Xow,  under  the  pretense  of  showing  the  gentle- 
man the  proper  way  to  roll  the  paper,  he  takes  it 
between  the  finger  and  thumb  of  the  left  hand, 
and  having  rolled  it  about  a  little,  passes  it  over 
to  right  hand,  where,  under  cover  of  the  manipu- 
lations, it  is  passed  to  the  rear,  the  duplicate 
whole  paper  taking  its  place.  (See  Fig.  32.) 
The  performer  now  returns  the  paper  (the  whole 


Bttcr  Dinner  Zxic\{6  149 

one)  to  the  gentleman  with  the  right  hand,  and 
forthwith,  with  the  same  hand,  takes  cigarette 
from  mouth,  thus  concealing  duplicate  ball  be- 
tween fingers  (see 
Fig.  31)  without  (^ 
exciting  suspicion. 
Finally  the  torn 
pieces  are  placed 
in  the  mouth  when 
returning  cigarette, 
and  kept  there  un-  ^ig.  3i.-Cigarette  Trick 

til  an  opportunity  arrives  for  removing  them  in 
secret. 

Secoxd  Method. — This  is  no  less  interesting 
than  the  method  described  above.  In  this  case 
the  packet  of  cigarette  papers  is  prepared  before- 
hand by  rolling  up  one  into  a  little  ball,  and  fix- 
ing it  on  the  underside,  near  the  edge  at  one  end, 
of  the  second  in  order  from  the  top. 

Thus  prepared,  the  performer  removes  the 
packet  from  his  pocket,  and  tearing  off  top  paper, 
hands  same  to  a  gentleman  with  a  request  that  he 
will  tear  it  into  small  pieces.  Says  the  performer, 
"  I  will  take  one  and  show  you  what  I  mean ;  tear 
it  as  I  do."  Saying  this,  he  removes  second  paper, 
and  with  it  the  duplicate  ball.     While  tearing  the 


150  /llbagfc 

paper  the  little  ball  is  kept  concealed  between  the 
forefinger  and  thumb,  by  no  means  a  difficult 
matter,  and  occasionally  passed  from  one  hand  to 
the  other  that  the  hands  may  be  shown  empty 
alternately.  When  the  tearing  is  complete,  the 
performer  screws  up  paper  with  the  remark,  "  Now 
roll  the  pieces  into  a  little  ball 
like  this — thank  you,  that  will 
do  nicely."  While  giving 
these  instructions  he  passes 
his  torn  paper  to  the  rear, 
Fig.  32.— Cigarette  where  it  is  completely  con- 
cealed by  being  pressed  tightly 
between  first  joint  of  finger  and  thumb ;  the 
duplicate  ball  being  presented  at  the  extreme 
tips  of  same  fingers.     (See  Fig.  32.) 

Continuing,  the  performer  remarks,  "  l^ow 
please  take  this  little  ball  and  give  me  yours." 
This  is  done,  care  being  taken  not  to  expose  se- 
creted ball.  Performer  now  accuses  gentleman  of 
retaining  one  of  his  pieces  ;  this  of  course  leads  to 
an  examination,  whereupon  the  gentleman  and 
all  present  are  surprised  to  find  the  paper  com- 
pletely restored.  Finally  the  performer  unfolds 
the  pieces  of  gentleman's  paper,  with  which  he  also 
mingles  his  own,  with  the  remark,  "  You  evidently 
don't  quite  understand  the  trick,  sir." 


Bfter  ©inner  Zxic'hs  151 

To    EEAD    THE  WhOLE    OF    THE    CaRDS    I^"   A 

Pack  just  Shuffled  (xew  method). — The 
performer  gives  pack  of  cards  to  be  shuffled,  and 
when  returned  places  them  behind  his  back  and 
calls  out  the  name  of  a  card.  He  brings  the  card 
forward  and  throws  it  on  the  table,  and  continues 
in  this  manner  to  name  every  card  in  the  pack. 

The  secret  is  exceedingly  simple.  A  second 
pack  of  cards,  prearranged  in  a  given  order,  is 
substituted,  as  hereafter  explained,  for  the  pack 
shuffled  by  the  audience.  All  the  performer  has 
to  do  then  to  make  the  trick  a  success  is  to  acquire 
a  thorouo^h  knowledo:e  of  the  order  of  the  cards 
in  the  prepared  pack.  The  order  of  the  fifty-two 
cards  can  be  learned  in  five  minutes  by  the  aid  of 
the  following  mnemonic : 

I^ive  Kings  ivanted  {one  fen),  six  Knaves.  For 
{four)  twenty-tTiree  ifioo  three)  ladies  {queen)  or 
eighty-nine  {eight  nine)  slaves  {seven). 

The  above  gives  the  order  of  the  values  of  the 
cards  only ;  the  suits  must,  of  course,  follow  in 
regular  sequence,  say :  Diamonds,  clubs,  hearts, 
spades.  Example  :  On  the  table,  face  upward, 
place  the  five  of  diamonds,  on  this  the  king  of 
clubs,  on  this  the  ace  of  hearts,  on  this  the  ten  of 
spades,  on  this  again  the  six  of  diamonds ;  and  so 
on  throughout  the  pack.    Thus  arranged,  the  pack 


152  IfbnQic 

may  be  cut  to  any  extent  without  disturbing  the 
order  of  the  cards. 

The  exchange  of  packs  is  carried  out  under 
cover  of  a  natural  movement,  as  follows  : — Per- 
former receives  the  shuffled  pack  in  the  left  hand 
and  forthwith  places  it  behind  his  back,  resting 
the  hand  on  the  hip.  The  right  hand  is  now 
placed  to  the  rear,  ostensibly  for  the  sole  purpose 
of  removing  the  handkerchief  from  the  left  tail 
pocket,  with  which  the  performer  is  subsequently 
blindfolded ;  the  right  hand,  however,  first  re- 
lieves the  left  hand  of  the  shuffled  pack  and  care- 
fully lowers  it  into  the  pocket  containing  the 
handkerchief  and  prepared  pack ;  these  two  latter 
are  then  removed  together,  the  cards  being  placed 
in  the  left  hand  and  the  handkerchief  brought  to 
the  front.  Performer  now  requests  some  mem- 
ber of  the  audience  to  blindfold  him  in  order  to 
preclude  the  possibility  of  his  obtaining  assistance 
from  mirrors  or  other  reflecting  surfaces.  As  he 
makes  the  request  he  turns  round,  thereby  cas- 
ually drawing  attention  to  the  cards  still  in  the 
left  hand,  and  which  all  present  will  readily  be- 
lieve to  be  those  shuffled. 

The  solution  will  now  be  clear,  but  various 
little  additions  will,  doubtless,  suggest  themselves 
in  the  working  of  the  trick.     For  instance,  the 


Btter  S)inner  Zxicl\6 


153 


performer  may  undertake  to  pick  out  any  card 
called  for,  which,  with  a  little  practice,  will  be 
seen  to  be  easy  of  accomplishment.  If  the  card 
asked  for  is  out  he  will  state  the  fact. 

In  making  this  reference  I  would  state  that  the 
above  doggerel 
rhyme  has  been 
arranged,  quite  re- 
cently, by  myself. 
It  will  be  seen 
that  it  gives  a  to- 
tally different  or- 
der of  the  cards,  a 
much-needed  vari- 
ation,  from  the 
now  hackneyed 
rhyme  which  for 
ages  has  appeared 
in  all  works  on 
card  conjuring. 

B  ALAiq-cixa 
Feats  . — T  a  k  e 

tliree  dessert  knives  and  arrange  them  in  tri- 
angular fashion  upon  three  tumblers.  Upon  the 
triangular  space  formed  by  the  intersection  of 
the  knife  blades,  deposit  a  water  bottle,  and  upon 


Fig.  33. — Balancing  Knives 


154 


/Bbac^fc 


the  mouth  of  the  bottle  an  apple,  (Fig.  33).  It 
seems  quite  an  impossible  feat,  but  it  is  readily 
accomplished. 

Another  curious  experiment  in  equilibrium  is 
the  following :  Take  a  couple  of  forks  and  ar- 
range them  with  their  prongs  one  set  over  the 
other,  and  stick  a  silver  dollar  between  the  mid- 
dle prongs,  thus  uniting  the  tw^o  forks.  This  ac- 
complished, place  the  coin  flat  on  the  rim  of  a 
tumbler,  pushing  it  outward  until  the  two  cir- 
cumferences touch  externally.  The  coin  v>ath 
appendent  forks  will  remain  balanced  much  to 

the  surprise  of 
the  company, 
(Fig.  34).  You 
may  follow 
this  up  by 
pouring  the 
water  steadily 
from  the  glass 
into  a  second 
glass,  without 
disturbing  the 
tooney  or  the  forks,  which  remain  in  equilibrio. 
The  above  clever  feats  may  properly  be  per- 
formed at  the  dinner-table  after  dessert  has  been 
brought  on. 


Fig.  35, — Balancing  Forks 


attcc  £)lnner  CricKs  155 

TValxut  Shells  axd  Pea. — This  is  an  excel- 
lent  table  trick,  and  can  be  performed  at  close 
quarters  without  much  fear  of  detection.  The 
only  articles  required  for  the  execution  of  the 
trick  are  three  half  walnut  shells  and  a  pea.  The 
three  shells  are  laid  in  a  row  on  the  table,  the' 
pea  being  placed  under  the  centre  one,  from 
which  position  it  disappears  and  is  ultimately 
found  under  either  of  the  end  ones  at  the  will  of 
the  performer.  The  table  used  must  be  covered 
with  a  cloth  of  some  kind. 

The  secret  lies  in  the  pea,  which  is  fashioned 
from  a  piece  of  india-rubber,  but  unless  closely 
inspected  cannot  be  distinguished  from  the  or- 
dinary everyday  article.  AYhen  presenting  the 
trick  the  pea  is  actually  placed  under  the  middle 
shell.  The  shells  are  then,  each  in  turn,  com- 
mencing from  the  one  on  the  left,  pushed  up  the 
table  about  three  inches.  When  moving  the 
middle  one  the  pea,  owing  to  its  nature  and  the 
concavity  of  the  shell,  will  be  found  to  work  its 
way  out,  when  it  is  instantly  seized  with  the 
thumb  and  middle  finger.  This,  however,  can- 
not be  suspected,  as  the  hand  retains  a  perfectly 
natural  position.  The  third  shell  is  then  moved 
into  a  line  with  the  other  two. 

The  pea  can  now  be  caused  to  appear  under 


156  llbnQic 

either  of  the  shells  at  pleasure,  all  that  is  nece3> 
sary  being  to  leave  it  on  the  table  immediately 
behind  the  shell  in  the  act  of  raising  the  same. 

In  effect  this  trick  is  identical  with  that 
known  as  "  Thimble  Eigging,"  which  it  is  there- 
fore needless  to  describe,  but  the  secret  is  much 
prettier  and  calculated  to  deceive  more  thor- 
oughly. 

The  Kestored  C  ut. — This  is  a  very  interesting 
little  trick,  and  is  especially  suitable  for  an  after- 
dinner  surprise.  The  performer  takes  a  needle 
containing  about  a  yard  of  thread,  and  passes  it 
through  an  apple.  The  cord  is  then  pulled  back- 
ward and  forward,  after  which  the  apple  is  cut 
in  half  with  a  table  knife;  both  portions  are 
shown,  the  cord  having  to  all  intents  and  pur- 
poses been  severed.  The  two  portions  are  then 
united  and  the  cord  is  pulled  backward  and  for- 
ward as  before. 

The  performer  prepares  for  the  trick  by  pass- 
ing the  needle  in  at  the  side  of  the  apple  and 
bringing  it  out  at  the  end  opposite  the  stalk,  in 
which  condition  it  is  laid  on  the  table. 

When  about  to  present  the  trick  the  performer 
takes  up  both  articles,  which  if  held  properly  will 
appear  to  be  separate,  and  announces  that  he  is 


attec  ©inner  Jlxic'ke  157 

about  to  pass  the  thread  through  the  apple.  He 
apparently  does  so,  but  really  inserts  the  needle 
at  the  point  where  it  came  out,  passing  it  to  the 
opposite  side.  The  thread  is  now  pulled  back- 
ward and  forward,  when  it  will  appear  to  actu- 
ally traverse  the  centre  of  the  fruit. 

The  apple  is  then  cut  in  half,  at  right  angles  to 
the  cord,  which  under  the  circumstances  will  re- 
main uninjured.  The  parts  are  now  handed 
round  for  inspection,  care  being  taken  to  keep 
them  together  at  the  bottom,  after  which  they 
are  replaced  and  the  cord  shown  to  be  intact.  At 
the  conclusion  of  the  trick  the  thread  should  be 
withdrawn  from  the  fruit  and  given  for  examin- 
ation; this  also  prevents  the  discovery  of  the 
secret  by  any  inquisitive  spectator. 

The  Gaeter  Trick. — This  is  a  very  old  trick, 
and  from  its  title  will  be  recognized  at  once  as 
common  to  the  sharps  who  frequent  race-courses. 
It  is  not,  however,  generally  known,  and  as  it 
forms  a  good  table  trick  a  description  of  it  may 
not  be  out  of  place.  It  is  usually  performed  with 
a  piece  of  stiff  half-inch  tape  ;  an  ordinary"  inch 
tape  measure  will  answer  the  purpose  admirably. 
The  tape  is  folded  in  half  and  coiled  round  and 
round  on  the  table  until  it  is  almost  impossible  to 


158  ^a^ic 

tell  for  certain  which  is  the  loop  proper,  i^  e.,  the 
point  at  which  the  tape  was  doubled.     (See  Fig. 
35.)     The  bystander  is  then  requested  to  place 
the  point  of  his  penknife  in  the  loop,  but  how- 
ever careful  he  may  be  in  his  selection  he  will 
fail,  as  the  performer  is  able  to  pull  the  tape  clear 
of  the  knife  in  all  cases.    The  secret  lies  in  the  fact 
that  the  tape  is  not  folded  exactly  in  half,  one  end 
being  left  shorter  than  the  other  by  about  three 
inches.      When    uncoiling    the 
tape,  if  the   knife  be  actually 
placed  in  the   loop,  and  both 
ends  are  pulled  from  the  point 
A,  it  will  not  come  away  ;  but 
if  the  short  end  be  passed  round 
to  the  left  and  both  ends  pulled 
Fig.  35.— Garter      from  the   point   B,  it  will  be 
"^  found  to  come  clear  of  the  knife. 

All  the  performer  has  to  do,  therefore,  is  to  watch 
and  see  if  the  knife  is  really  placed  in  the  loop  or 
otherwise,  and  to  act  accordingly.  The  short 
end  is  carried  round  under  cover  of  the  fingers 
w^hile  twisting  the  tape. 

Fig.  35  is  arranged  for  clearness,  but  in  actual 
practice  the  tape  would  receive  many  more 
twists,  which  would  also  be  of  a  more  intricate 
nature. 


CHAPTER  IX 

MISCELLAXEOUS    TRICKS 

Flash  Paper. — Having  had  occasion  several 
times  during  the  course  of  the  present  work  to 
make  use  of  "  ilash  paper,"  I  will  now  describe 
the  manner  in  which  it  is  prepared.  It  is  not, 
however,  practical  to  manufacture  it  at  home,  as 
it  can  be  obtained  in  large  quantities  at  a  very 
small  cost. 

A  mixture  of  nitric  and  sulphuric  acids,  one 
part  of  the  former  to  two  of  the  latter,  is  made, 
and  allowed  to  stand  for  twelve  hours  before 
using.  The  experiment  should  be  made  in  the  open 
air.  Ordinary  tissue  paper  is  then  immersed  in 
the  fluid  for  a  few  seconds,  after  which  it  is  taken 
out  and  washed  well  in  clear  water,  until  all 
trace  of  the  acid  has  been  removed.  This  can 
be  ascertained  by  the  use  of  blue  litmus  paper, 
which  when  dipped  into  the  water  will  betray 
the  presence  of  the  acid  by  turning  red.  The 
paper  should  then  be  dried  in  a  warm  atmosphere, 
but  not  near  a  fire,  and  it  is  ready  for  use. 

Flash  handkerchiefs  are  prepared  in  a  similar 

159 


manner.  For  this  purpose  take  a  piece  of  fine 
cambric,  wash  it  well  in  hot  water  to  remove  all 
grease  and  other  impurities,  and  then  treat  it  in 
the  same  way  as  the  paper. 

A  New  Fire  Flash. — This  forms  a  very 
good  opening  trick.  The  performer  steps  on  the 
stage  and,  in  what  appears  to  be  a  careless  man- 
ner, picks  up  a  piece  of  paper  from  the  floor,  rolls 
it  up  in  his  hands,  and  throws  it  in  the  air,  where 
it  disappears  in  a  flame,  leaving  no  trace  behind. 

To  produce  this  effect  you  must  obtain  some 
very  fine  glass  tubing  about  the  thickness  of  a 
darning  needle,  and  having  broken  off  several 
pieces  about  an  inch  long,  fill  them  with  sulphuric 
acid.  This  can  be  done  with  the  aid  of  a  long 
piece  of  india-rubber  tubing,  the  acid  being  drawn 
into  the  glass  by  suction.  The  ends  of  the  tube 
are  then  sealed  hermetically  in  the  flame  of  a 
spirit  lamp.  You  must  next  prepare  a  powder 
composed  of  equal  parts  of  chlorate  of  potass 
and  powdered  lump  sugar.  Wrap  a  very  small 
quantity  of  this  powder — about  as  much  as  will 
lie  on  a  penny — together  with  one  of  the  acid 
tubes  in  a  piece  of  flash  paper,  and  all  is  ready. 

When  rolling  up  the  paper  in  the  hands  the 
tube  is  broken ;  the  acid  escapes  and  fires  the 


/IBi6cellancou0  Xlricfts  161 

powder,  which  in  turn  sets  fire  to  the  paper  and 
produces  the  desired  result. 

Caution. — To  prevent  accidents  never  prepare 
the  papers  or  even  mix  the  powder,  until  actually 
required  for  use. 

Conjurer's  Ammunition. — The  magic  pistol 
described  on  p.  61  is  usually  loaded  with  a  small 
charge  of  powder.  This  is  excellent  for  stage 
purposes,  but  hardly  suitable  for  the  drawing- 
room,  where  some  objection  might  be  taken  to 
the  employment  of  powder,  even  in  a  small  quan- 
tity. The  pistol,  however,  need  not  be  discarded, 
as  it  can  still  be  used  in  a  manner  that  will  in  no 
way  detract  from  the  charm  of  the  trick.  Load 
the  pistol  with  a  piece  of  flash  paper,  place  a  per- 
cussion cap  on  the  nipple,  and  pull  the  trigger. 
The  paper  will  take  fire  and  be  thrown  from  the 
pistol,  vanishing  in  a  sheet  of  flame  at  the  oppo- 
site end  of  the  room. 

Again,  the  pistol  need  not  be  loaded  at  all,  but 
just  as  you  are  about  to  fire  you  appear  to  under- 
stand that  the  ladies  object,  and  remark — "  Oh  ! 
I  see  the  ladies  object  to  the  report — well  in  that 
case  I  will  use  the  pistol  as  an  air-gun."  Saying 
this,  you  remove  the  conical  tube  and  blow 
through  it  to  cause  the  supposed  transmission. 


162  /Hbaglc 

Smoke  from  Two  Empty  Pipes.— Two 
empty  and  clean  clay  pipes  are  passed  round 
for  examination  and  proved  ostensibly  to  be  un- 
prepared. The  bowls  are  then  placed  one  over 
the  other,  when  the  performer,  by  simply  insert^ 
ing  one  of  the  stems  in  his  mouth,  commences  to 
blow  clouds  of  smoke  from  the  pipes. 

The  solution  of  the  mystery  is  as  follows  : — A 
few  drops  of  hydrochloric  acid  (spirits  of  salts) 
are  placed  in  one  of  the  pipes,  while  the  other  is 
similarly  treated  with  ammonia.  The  union 
of  the  two  chemicals  produces  a  thick  vapor, 
which  has  all  the  appearance  of  smoke  produced 
from  tobacco. 

A  good  combination  trick  may  be  formed  by 
preparing  a  glass  tumbler  and  the  bottom  of  a 
tea  plate,  as  above  described ;  the  plate  is  then 
placed  over  the  tumbler,  the  whole  being  cov- 
ered with  a  handkerchief.  The  smoke  so  mys- 
teriously produced  from  the  pipes  may  now  be 
caused,  apparently  by  some  occult  means,  to  find 
its  way  into  the  closed  tumbler. 

Fire-eating  Trick.— This,  although  a  very 
startling  trick,  is  quite  harmless,  and  can  be  per- 
formed b}^  any  one.  Small  balls  of  fire  are  placed 
in  the  mouth  and,  apparently,  swallowed,  being 


/nbisceUaneous  Zncl\B  163 

immediately  afterward  produced  from  the  ears, 
or  any  part  of  the  body  that  fancy  may  suggest. 

The  balls  are  small  pieces  of  camphor  cut  to 
shape,  and  are  lighted  in  the  flame  of  a  candle. 
They  should  be  tossed  from  one  hand  to  the 
other,  and  finally  into  the  mouth,  which  should 
forthwith  be  closed.  This,  of  course,  extin- 
guishes the  balls,  which  should  be  secretly  re- 
moved at  the  earliest  opportunity. 

The  reproduction  of  the  balls  of  fire  is  man- 
aged with  the  aid  of  the  acid  tubes  mentioned  on 
p.  160,  which,  together  with  a  small  quantity  of 
the  powder,  should  be  wrapped  up  in  flash  paper, 
and  deposited  about  the  person  as  required.  The 
best  effect,  however,  is  obtained  by  producing 
them  from  behind  the  ears ;  it  is  also  a  very  con- 
venient method,  as  the  tubes  are  not  so  likely  to 
be  prematurely  fractured. 

Exploding  Soap-bubbles. — This  is  a  nov- 
elty, and  will  be  found  to  produce  a  very  good 
effect.  The  bubbles  are  blown  in  the  usual  way 
with  an  ordinary  clay  pipe,  the  only  preparation 
necessary  being  that  the  bowl  of  the  pipe  must  be 
filled  with  cotton-wool  soaked  in  gasolene.  Bub- 
bles blown  with  a  pipe  thus  prepared  will  be  found 
to  explode  in  a  flame  when  approached  with  alight. 


164 


^adtc 


The  Tube  and  Ball. — This  is  a  very  ingeni- 
ous trick,  and  well  worthy  the  attention  of  the 
most  fastidious  performer.  It  can  be  used  in  sev- 
eral ways. 

The  apparatus  consists  of  a  piece  of  one  and 
one-half  inch  brass  tubing  about  seven 
inches  long,  with  a  cap  of  the  same 
^  metal  fitting  loosely  over  one  end ;  also 
two  billiard  balls  about  the  size  of  the 
diameter  of  the  tube.  The  audience, 
however,  are  not  supposed  to  know  of 
the  existence  of  more  than  one  ball. 
(See  Fig.  35.)  The  tube  and  cap,  to- 
gether with  the  ball,  are  given  for  ex- 
amination, attention  being  drawn  to 
the  fact  that  the  ball  will  readily  pass 
through  the  tube.  After  examination 
the  tube  is  stood  on  one  end  on  the 
table  and  covered  with  the  cap.  Tho 
operator  then  takes  the  ball  and  van- 
ishes it  by  means  of  sleight  of  hand, 
when,  on  the  tube  being  raised,  it  has 
to  all  appearance  been  passed  underneath. 

The  secret  lies  in  the  fact  that  there  is  a  very 
small  dent  in  the  side  of  the  tube  at  the  centre ; 
also  that  one  of  the  balls — that  given  for  exam- 
ination— is  slightly  smaller  than  the  other.     The 


Fig.  36.— 

Tube  and 

Ball 


/eblsccUancous  G:r(cft6  les 

small  ball  runs  freely  through  the  tube,  but  the 
large  one  will  not  pass  the  centre  on  account  of 
the  indentation. 

On  receiving  back  the*  tube  the  performer 
secretly  drops  the  large  ball  into  it,  which,  owing 
to  the  force  of  the  fall,  is  pinched  in  the  centre 
and  will  not  fall  out.  In  this  condition  the  tube 
can  be  turned  about  in  all  directions  and  will 
still  appear  empty.  When  placing  it  on  the  table 
the  performer  is  careful  to  bring  it  down  rather 
smartly  on  the  end  at  which  the  ball  was  intro- 
duced, when,  owing  to  the  concussion,  the  ball  is 
released  and  falls  on  the  table. 

The  tube  can  be  used  to  cause  the  disappear- 
ance of  a  ball  in  the  following  manner  : — Place 
the  ball  on  a  tea  plate  and  cover  it  with  the  tube, 
which  in  turn  cover  with  a  second  plate.  By  re- 
versing the  position  of  the  structure  the  ball 
falls  into  the  tube,  where  it  is  retained  in  the 
manner  described,  and  after  a  little  more  twist- 
ing and  turning,  to  add  to  the  general  confusion, 
the  plates  are  removed  and  the  ball  is  proved  to 
have  disappeared. 

The  ball  can  of  course  be  reproduced  if  de- 
sired ;  or  if  two  tubes  are  used  it  may  be,  appar- 
ently, passed  from  one  to  the  other.  In  this 
case,  however,  it  is  suggested  that  round  discs 


166 


^a^ic 


of  wood  be  used  in  place  of  the  plates,  as  the 
latter  would  be  likely  to  get  fractured  in  the  act 
of  bringing  the  tube  down  with  sufficient  force 
to  dislodge  the  ball.    * 

The  Ubiquitous  Thimble.— This  is  one  of 
the  prettiest  sleight  of  hand  tricks  in  existence, 
and  requires  very  little  practice.  For  the  pur- 
pose of  the  trick,  in  its  entiretj^,  the  performer 
must  be  provided  with  two  thimbles  exactly 
alike;  but   very  many  surprising  passes  can  be 

made  with  one 
thimble  only.  The 
idea  of  the  trick 
proper  is  to  cause 


a    thimble   placed 
on  the   forefinger 
of  the  right  hand 
Fig.  37.-Thimbie  Trick  ^^   disappear  and 

be  found  on  the  corresponding  finger  of  the  left 
hand,  without  the  hands  approaching  each  other. 
It  is  usual,  however,  in  the  first  place,  to  execute 
a  number  of  passes  with  one  thimble  only,  as  by 
this  means  the  audience  will  be  the  less  likely  to 
suspect  the  introduction  of  the  second  one.  The 
main  thing  necessary  is  to  acquire  the  knack  of 
holding  a  thimble  in  the  fleshy  portion  of  the 


/ibisceUaneous  G:ncft6  167 

hand  at  the  root  of  the  thumb,  in  which  position 
it  can  be  placed,  or  removed  at  pleasure,  by 
simply  bending  the  forefinger.  (See  Figs.  37  and 
38.)  This  sleight  must  be  executed  with  equal 
facility  with  both  hands. 

When  about  to  present  the  trick  the  performer 
comes  forward  with  a  thimble  on  the  forefinger 
of  the  right  hand,  the  second  one  being  in  the 
left-hand  trousers  pocket.  He  now  appears  to 
place  the  thimble  in 
the  left  hand,  but 
really,  when  the  right 
hand  is  in  motion  to- 
ward the  left,  it  is 
palmed  as  described. 
The  left  hand  is  then 
brought    down    ,yitl,   ^^S- ^^--"^^^^^  ^^  Root  ot 

some  force  on  the  head 

and  the  thimble  produced  from  the  mouth  on  the 
forefinger  of  the  right  hand.  This  can  be  done 
with  perfect  ease,  as,  so  long  as  the  hand  is  kept 
in  motion  during  the  recovery  of  the  thimble, 
there  is  no  fear  of  the  movement  being  detected. 
The  thimble  is  then  apparently  placed  in  the 
mouth,  really  being  palmed  as  before,  and  after- 
ward produced  from  the  bottom  of  the  vest. 
While  doing  this  the  performer  stands  with  the 


168  ffb^QiC 

left  hand  in  the  trousers  pocket  and  palms  the 
second  thimble.  Both  hands  are  now  held  palms 
away  from  the  spectators,  and  kept  in  continual 
motion.  Under  cover  of  this  the  right-hand 
thimble  is  palmed,  and  that  in  the  left  hand  pro- 
duced, when  it  will  appear  to  have  been  passed 
from  one  hand  to  the  other.  This  can  be  re- 
peated as  often  as  desired. 

Finally  the  second  thimble  should  be  se- 
cretly disposed  of,  and  the  trick  brought  to  a 
conclusion  with  a  pass  performed  with  the  one 
only. 

An  additional  effect  may  be  obtained  by  the 
use  of  two  thimbles,  one  fitting  over  the  other. 
These  should  be  made  in  thin  metal  so  as  to  be, 
in  point  of  size,  as  near  alike  as  possible.  The 
two  thimbles,  which  appear  as  one  only,  are 
placed  on  the  forefinger  of  the  right  hand,  and 
covered  with  a  small  paper  cone,  with  the  re- 
mark, "  You  see  the  cone  just  fits  the  thimble  ; 
I  will  now  show  you  a  rather  extraordinary  ex- 
periment with  the  same."  The  cone  is  then  re- 
moved, with  slight  pressure  at  the  base,  and 
placed  on  the  table  on  the  supposition  that  it  is 
empty,  but  it  really  contains  the  uppermost  thim- 
ble. The  one  left  on  the  finger  is  then  vanished, 
under   cover  of   a  throwing  movement  toward 


^tscellaneouB  tTrlcfta 


169 


the  cone,  which  is  then  removed  by  the  apex  and 
the  thimble  discovered. 

While  all  attention  is  drawn  to  the  table  the 
duplicate  thimble  is  dropped  into  the  profonde. 

The  Mysterious  Tambourine. — It  is  gen- 
erally understood  that,  should  the  silk  hat  go  out 
of  fashion,  conjurers  would  be  at  a  loss  for  a 
suitable  article  wherewith  to  work  the  numerous 
"production"  tricks.  Should  such  a  calamity 
ever  befall  the  profession  the  mysterious  tam- 
bourine will,  to  some  extent,  come  to  the  rescue. 

The  apparatus  consists  of  two  nickel-plated 
brass  rings,  eight 
inches  in  diameter 
and  one  inch  deep ; 
the  one  fitting  easily 
over  the  other.  (See 
Fig.  39.)  The  tam- 
bourine is  con- 
structed b}^  placing 
a  sheet  of  paper  be- 


tween the  two  rings. 


Fig.  39.— Tambourine  Trick 


and  pressing  the  upper  one  down  over  the  lower, 
the  edges  of  the  paper  being  afterward  trimmed 
round  with  scissors.  Thus  prepared  it  is  shown 
back  and  front. 


170  /Hbaflfc 

The  prestidigitateur  then  makes  a  small  hole 
in  the  centre  of  the  paper  with  his  wand,  and 
immediately  commences  to  twist  out  yard  after 
yard  of  colored  paper  ribbon,  sufficient  being 
obtained  to  fill  a  large  clothes  basket.  If  the 
performer  desires  to  add  to  the  effect  of  the  trick 
the  production  of  the  ribbon  may  be  preceded 
by  that  of  a  number  of  handkerchiefs,  also  a 
quantity  of  spring  flowers  and  other  articles  of 
a  like  nature.  Finally  a  rabbit  or  a  large  bird 
cage  containing  a  live  bird  may  be  produced 
from  the  pile  of  ribbon. 

The  explanation  is  very  simple.  The  tam- 
bourine is  put  together  at  the  rear  edge  of  the 
table,  and  when  taking  it  up  prior  to  trimming 
the  edges,  the  coil,  which  was  on  the  servante  or 
suspended  at  the  back  of  the  table,  is  brought 
away  under  cover  of  the  paper  and  pressed  into 
the  ring.  The  back  of  the  colored  coil  should 
be  rubbed  over  with  chalk  to  match  the  white 
paper  used  in  the  construction  of  the  tambourine, 
which  can  then  be  shown  back  and  front,  but 
but  will  still  appear  empty. 

The  flowers  should  be  done  up  in  three  packets 
of  twenty  each  and  laid  on  the  coil,  being  covered 
with  the  handkerchiefs,  which  should  be  folded 
vip  neatly.     The  packet  is  then  tied  together  with 


/iBlscellaneous  Zxic^s  171 

thin  cotton,  which  can  easily  be  broken  when  re- 
quired. 

The  rabbit  is  in  readiness  in  the  profonde  on 
the  right  side,  and  is  introduced  into  the  ribbon 
when  picking  it  up  from  the  floor. 

The  cage,  which  should  be  a  folding  one,  is 
suspended  behind  the  back  of  a  chair,  over  which 
the  ribbon  would  be  thrown  while  performing  a 
simple  trick  with  one  of  the  handkerchiefs.  In 
the  act  of  taking  the  ribbon  from  the  chair  op- 
portunity would  be  found  for  introducing  the 
cage  unobserved. 

The  Bra:^  and  Dove  Plates. — The  trick 
about  to  be  described,  in  its  primary  form,  con- 
sists of  changing  a  quantity  of  bran  or  flour  into 
a  live  dove.  It  can,  however,  like  the  tambourine, 
be  made  available  for  the  production  of  various 
articles,  and  is  especially  suitable  for  the  magical 
distribution  of  bonbons,  sweets,  etc. 

The  performer  comes  forward  with  an  ordinary 
soup  plate  filled  to  overflowing  with  bran,  a  por- 
tion of  which  is  scattered  over  the  stage  to  prove 
its  genuineness.  The  bran  is  then  covered  with 
a  second  plate,  which  on  being  removed  reveals 
a  live  dove,  the  bran  having  entirely  disappeared. 

The   explanation  is  as  follows : — One  of  the 


172  /nbafllc 

plates  is  fitted  with  a  tin  lining,  enamelled  white 
on  the  inside  to  represent  the  china.  (See  Fig.  40.) 
The  supposed  bran  is  really  this  tin  lining  turned 
upside  down  with  bran  gummed  all  over  it;  a 
handful  of  loose  bran  being  thrown  on  the  top. 
It  is  hardly  necessary  to  say  that  the  dove  is 
already  in  the  plate  concealed  by  the  bran  shape. 
The  false  heap  of  bran  is  now  covered  with  the 
second  plate,  and  while  talking  the  performer,  in 
a  careless  way,  turns  the  plates  over  several 
times,  finally  placing  them  on  the  table  in  such 

a  manner  that  the  one 
I  \        that  w^as  formerly  upper- 

most shall  now  be  at  the 
bottom.     All  he   has  to 

T.     ...^    rp .  1  T.W         ^^    ^ow    is    to  remove 
Fig.  40.— Trick  Plate 

the  uppermost  plate  and 
take  out  the  dove.  The  inside  of  the  bottom 
plate  should  now  be  shown,  when  it  will  appear 
perfectly  empty. 

In  place  of  the  dove  the  plate  may  be  loaded 
with  sweets  and  small  toys,  for  distribution ;  or 
with  a  list  of  articles  similar  to  those  produced 
from  the  tambourine.  If  a  coil  of  ribbon  be  used 
it  should  be  a  colored  one,  with  one  side  rubbed 
over  with  chalk  so  that  the  inside  of  the  plate 
may  be  shown  prior  to  its  production. 


Afscellancous  tTricfts  173 

By  using  two  pairs  of  these  plates,  and  being 
provided  with  two  doves  exactly  alike,  the  bran 
in  one  may  be  made  to,  apparently,  change  places 
with  the  dove  in  the  other. 

The  "Wandering  Stout. — The  feat  bearing 
this  title  consists  of  causing  a  glass  of  stout  to 
pass  through  the  crown  of  a  borrowed  hat. 
Having  obtained  the  loan  of  two  hats,  the  per- 
former places  them  on  the  table  mouth  to  mouth, 
and  stands  the  glass  of  stout  on  the  crown  of  the 
uppermost  one,  covering  it  with  a  paper  cylinder 
of  the  same  height  as  itself.  On  removing  the 
cylinder  it  is  shown  to  be  perfectly  empty,  the 
glass  being  immediately  taken  from  the  lower 
hat. 

For  the  performance  of  the  trick  the  operator 
must  be  provided  with  a  glass  three  and  one- 
fourth  inches  high  by  two  and  one-half  inches  in 
diameter  at  the  mouth,  tapering  very  slightly 
toward  the  bottom.  The  kind  known  as  picnic 
glasses  will  be  found  the  most  suitable.  In 
addition  to  the  glass  and  the  paper  cylinder  a 
piece  of  glass  tubing  of  the  same  height  as  the 
tumbler,  and  large  enough  to  pass  easily  over  the 
same,  will  also  be  required.  This  piece  of  tubing 
must  be  blackened  on  the  inside  to  within  one 


174  ^agtc 

inch  of  the  top,  and  finished  with  a  little  white 
paint  to  represent  froth,  when,  thus  prepared,  it 
will  readily  pass  for  a  glass  containing  stout. 

The  paper  cylinder,  containing  the  sham  glass, 
being  on  the  table,  the  performer  comes  forward 
with  a  bottle  of  stout  and  fills  the  tumbler.  He 
then  takes  up  the  cylinder  and  passes  his  wand 
right  through  it,  as  if  to  prove  that  it  has  not 
undergone  any  preparation,  after  which  he  places 
it  over  the  glass  of  stout.  He  then  puts  the  glass, 
still  covered  with  the  cylinder,  into  one  of  the 
hats,  with  the  remark  "I  will  now  cause  the 
tumbler  to  pass  from  one  hat  to  the  other,"  then, 
as  if  struck  with  a  sudden  thought,  changes  his 
mind,  saying,  "]N"o,  perhaps  it  would  be  more 
effective  if  I  place  the  hats  one  over  the  other, 
and  pass  the  glass  through  the  crown  of  the 
uppermost  one."  Saying  this  he,  apparently, 
takes  the  tumbler,  still  under  cover  of  the 
cylinder,  from  the  hat,  and  places  it  in  the  re- 
quired position.  Keally,  however,  the  stout  was 
left  behind,  the  cj^linder  and  counterfeit  glass 
alone  being  removed. 

Now,  in  order  to  satisfy  the  spectators  that  the 
stout  is  actually  on  the  crown  of  the  hat,  the 
performer  lifts  the  cylinder  and  exposes  the  sham 
glass,  which  every  one  believes  to  be  the  genuine 


fliieccUaneous  Cricfts  175 

article.  The  cover  is  then  replaced  and  the 
tumbler  commanded  to  pass  into  the  lower  hat, 
after  which  it  is  again  raised,  together  with  the 
counterfeit,  and  the  wand  passed  through  it  as 
before.  The  hats  are  then  separated  and  the 
glass  is  produced  from  the  lower  one. 

A    Crystal    Water    Mystery. — Chemical 
tricks,  as  a  rule,  do  not  meet  with  much  favor  at 
the  hands  of  professional  conjurers.     The  reason 
is  pretty  clear,  as,  in  the  ma- 
jority   of   cases,    the    modus 
operandi  is  too  palpable.     The 
one   here  described,  however, 
owing     to     the     number    of 
changes  produced,  is   an   ex- 
ceptionally good  one,  and  is 
to  be  found  in  the  repertoire 
Fig.  41.— Water  Trick   of  the  leading  performers  of 
the  day. 
Four  empty  glass  tumblers,  together  with  a 
^lass  jug  fall  of  water,  are  arranged  on  a  tray  as 
shown  in  Fig.  41. 

Water  poured  from  the  jug  into  — 
!N'o.  1,  is  seen  to  be  clear. 
!N"o.  2,  changes  to  stout. 
lN"o.  3,  is  seen  to  be  clear. 


176  /IRa^lc 

]^o.  4,  again  changes  to  stout. 

Nos.  1  and  2  mixed  equal  stout. 

Nos.  3  and  4  mixed  equal  water. 

]S"os.  1  and  2  put  back  into  the  jug  give  all 
stout. 

Nos.  3  and  4  put  back  into  the  jug  give  all 
water,  as  at  first. 
The  explanation,  although  by  no  means  obvious, 
is  very  simple.  Glass  No.  1  is  perfectly  clean. 
1^0.  2  contains  a  small  portion  of  pyrogallic  acid, 
about  the  size  of  a  pea.  l^o.  3  is  prepared  with 
half  a  teaspoonf  ul  of  sulphuric  acid.  No.  4  con- 
tains the  same  quantity  of  pyrogallic  acid  as  No. 
2.  The  jug  contains  clear  water,  into  which  a 
teaspoonful  of  sulphate  of  iron  is  dropped  just 
before  the  trick  is  commenced.  The  iron  should 
not  be  placed  in  the  water  until  actually  required 
for  use,  as  the  solution  changes  rapidly  to  a 
yellow  color,  in  which  condition  it  Avould  not 
very  Avell  pass  for  water.  For  the  same  reason 
the  jug  should  be  removed  immediately  after  the 
trick. 

Some  performers  prefer  to  use  the  following 
chemicals  in  place  of  those  enumerated  above.  I 
will  give  them  in  the  same  order,  and  then  the 
magician  may  choose  for  himself.  Glass  No.  1, 
as  before,  is  quite  clean ;  No.  2  contains  a  few 


/iBlscellaneous  tTrfcftg  177 

drops  of  muriated  tincture  of  iron ;  Ko.  3,  a  tea- 
spoonful  of  a  saturated  solution  of  oxalic  acid ; 
and  Xo.  4  is  prepared  in  the  same  manner  as  Xo. 
2.  A  teaspoonf  ul  of  tannic  acid  should  be  added 
to  the  water  in  the  jug  prior  to  the  commence- 
ment of  the  experiment. 

I  myself  always  use  the  sulphuric  acid,  as  I  be- 
lieve it  produces  the  best  result,  but  in  the  case 
of  a  spill  it  is  very  dangerous,  and  on  this  account 
the  latter  method  is  to  be  preferred.  The 
changes,  in  either  case,  are  quite  instantaneous, 
hence  the  trick  produces  a  most  extraordinary 
effect. 

The    Wizaed's    Breakfast. — The   magical 

production  of  steaming  hot  coffee  has  always  been 
a  favorite  trick  with  the  juveniles,  especially 
when  the  beverage  is  handed  round  for  their  con- 
sumption, and  various  pieces  of  apparatus  have 
been  designed  for  effecting  this  purpose.  The 
most  up-to-date  method,  however,  is  the  one  here- 
after described : 

Two  boxes,  without  lids,  sizes  about  twelve 
inches  by  eight  inches  by  eight  inches,  usually 
fitting  one  within  the  other  for  convenience  in 
traveling,  and  containing  respectively  cuttings 
of  blue  and  white  paper,  are  introduced  to  the 


178  /IBagic 

audience.  Two  pint  goblets,  in  metal,  are  then 
filled,  one  with  blue  and  the  other  with  white 
paper  from  the  boxes,  after  which  they  are  cov- 
ered with  small  silk  handkerchiefs.  On  removing 
the  handkerchiefs  the  blue  and  the  white  papers 
are  found  to  have  been  transformed  respectively 
into  hot  coffee  and  hot  milk.  The  performer  then 
pours  a  portion  of  each  fluid  into  a  breakfast  cup, 
and  makes  a  motion  as  if  throwing  the  w^hole 
over  the  audience,  when  nothing 
falls  but  a  shower  of  blue  and 
white  paper  cuttings,  every  ves- 
tige of  the  coffee  and  milk  having 
disappeared. 

There  are  in  reality  four  gob- 
ets  employed  in  the  trick,  two  of 


Fig.  42.— Trick  which,  containing  the  fluids,  are 
^^  ^^  concealed  in  the  boxes  unknown 
to  the  spectators.  These  two  are  provided  with 
shallow  trays  fitting  loosely  within  them  at  the 
top,  each  tray  being  filled  with  paper  of  the  re- 
quired color.    (See  Fig.  42.) 

AVhen  presenting  the  trick  the  performer  comes 
forward  with  the  box  containing  the  white  paper, 
and  throwing  a  handful  in  the  air,  calls  out,  "  Out 
in  the  cold,"  which  remark  is  perfectl}^  justifiable, 
as  the  paper  gives  a  faithful  representation  of 


Miscellaneous  Zx\c\{6 


179 


falling  snow.  Placing  this  box  on  the  table,  and 
taking  up  that  containing  the  blue  paper,  he  scat- 
ters a  handful  over  the  stage  with  the  remark, 
*'  This  is  the  same  as  the  white,  only  the  wind 
blue  it."  He  now  takes  one  of  the  goblets  from 
the  table  and  appears  to  fill  it  with  white  paper, 
but  really,  while  in  the  box,  an  exchange  is  made 
for  the  one  containing  the  milk,  which,  owing  to 
the  presence  of  the  shallow  tray,  will  appear  to 
be  full  of  paper.  This  is  then  "covered  with  a 
handkerchief,  after  which  the  second  goblet  is 
treated  in  like  manner. 
The  shallow  trays 
have  each  a  piece  of 
wire  projecting  from 
their  upper  edge  to 
enable  the  performer 
to  remove  them  under 
cover  of  the  handker- 
chiefs. The  handker- 
chiefs are  thrown  in  a 
careless 


Fig.  43.— Cup  and  Saucer 


manner  over 
the  sides  of  the  boxes,  into  which,  if  sufficient 
paper  has  been  provided,  the  trays  may  be  al- 
lowed to  fall. 

The  cup  and  saucer  will  next  require  our  at- 
tention.    These  are  of  metal  in  imitation  of  the 


180  USS^QiC 

genuine  article,  the  saucer  being  made  double, 
with  a  small  hole  in  the  centre  of  its  upper  side, 
for  a  purpose  that  will  presently  appear.  The 
cup  is  provided  with  a  perpendicular  division 
nearly  in  the  centre,  a  small  hole  being  drilled  in 
the  bottom  of  that  side  next  the  handle.  (See 
Fig.  43.) 

The  front  and  larger  side  is  filled  with  a  mix- 
ture of  blue  and  wliite  paper  cuttings,  and  thus 
prepared,  together  with  the  saucer,  it  is  placed  on 
the  table.  When  pouring  the  coffee  and  milk 
into  the  cup  the  performer  takes  care  that  it  goes 
into  the  space  provided  with  the  small  hole, 
through  which  it  immediately  runs  into  the  body 
of  the  saucer. 

It  is  usual  to  bring  the  trick  to  a  conclusion  by 
apparently  throwing  the  fluid  over  the  audience 
as  already  described,  but  should  the  performer  be 
provided  with  a  number  of  small  cups  and  a  tray, 
that  portion  of  the  beverage  not  used  may  be 
handed  round  as  refreshments. 

The  Hydrostatic  Tube.  This  is  a  trick  of 
comparatively  recent  invention.  It  requires  very 
careful  handling,  and  the  performer  must  be  pos- 
sessed of  almost  superhuman  nerve  to  present  it 
successfully  to  a  critical  audience.     It  produces. 


Miscellaneous  ^rfcfts  181 

however,  a  most  extraordinary  effect,  and  on  this 
account  is  to  be  recommended. 

A  piece  of  paper  is  placed  at  the  bottom  of  a 
glass  tube  or  chimney  used  for  gas,  which  is  then 
filled  Avith  water,  while  the  top  of  the  tube  is 
covered  with  a  second  piece  of  paper.  The  right 
hand  is  then  placed  on  the  top  paper  and  the 
position  of  the  tube  reversed.  The  papers  are 
then,  each  in  turn,  removed,  but  the  water  does 
not  fall  from  the  cylinder ;  on  the  contrary,  it 
remains  suspended  without  visible  means  of  sup- 
port. The  papers  are  now  replaced,  and  the  top 
one  is  pierced  with  a  hatpin,  when,  on  the  pin 
being  withdrawn,  the  water  at  once  falls  into  a 
basin  placed  ready  to  receive  it  under  the  tube. 

This  surprising  result  is  due  entirely  to  a  well- 
known  natural  law,  viz.,  the  pressure  of  the  at- 
mosphere, and  is  nothing  more  nor  less  than  a 
modification  of  the  old  schoolboy  trick  of  keep- 
ing a  glass  of  water  inverted  by  means  of  a  sheet 
of  paper.  The  new  arrangement  will,  however, 
require  special  explanation. 

Each  end  of  the  cylinder  is  fitted  with  a  glass 
cap,  grooved  to  fit  into  and  over  it  at  the  same 
time ;  this  is  necessary  to  avoid  slipping.  The 
ends  of  the  tube,  also  the  edges  of  the  caps,  must 
be  ground,  so  that  the  point  of  juncture  shall  be 


182 


/IRagfc 


air-tight.     One  of  the  caps  has  a  small  hole  drilled 
through  the  centre.     (See  Fig.  44.) 

When  about  to  present  the  trick  the  tT\^o  glass 
caps  are  laid  on  the  bottoms  of  two  upturned 
tumblers,  where  they  are  quite  invisible.  The 
performer  then  draws  attention  to  Uyo  square 
pieces  of  paper,  which  he  dips  into  the  water 
contained  in  the  bowl,  afterward  laying  them 
down  on  the  glass  tumblers,  and  over 
the  glass  discs.  He  next  shows  the 
tube,  passing  his  wand  through  it  to 
prove  that  it  has  not  undergone  any 
preparation.  Then  taking  one  of  the 
papers,  and  at  the  same  time  secretly 
securing  one  of  the  discs  (not  the  one 
with  the  hole  in  it),  he  places  it  at 
the  bottom  of  the  tube,  which  is 
forthwith  stood  on  the  palm  of  the 
left  hand.  The  tube  is  then  filled 
with  water  and  covered  with  the  re- 
maining piece  of  paj^er  and  glass  cap. 
The  position  of  the  tube  is  then  re- 
versed, after  which  it  is  taken  by  the 
centre  and  both  papers  are  removed.  The  w^ater 
will  not  run  out  from  the  small  hole  in  the  bot- 
tom cap  owing  to  the  fact  that  no  air  can  get  in 
at  the  top.     The  glass  caps  being  absolutely  in- 


Fig.  44.— 

Hydrostatic 

Tube 


/lBl9ceUaneous  tTrlcfts  183 

visible,  the  water  will  now  appear  to  be  sus- 
pended in  the  tube  without  any  natural  means  of 
support. 

The  papers  are  again  placed  on  the  ends  of  the 
tube,  where,  being  wet,  they  readily  adhere. 
The  hands  are  now  placed  one  on  each  end  and 
the  tube  is  reversed  ;  this  is  necessary  to  bring 
the  cap  with  the  hole  in  it  to  the  top.  The  top 
paper  is  then  pierced  with  the  hatpin,  which, 
passing  through  the  hole  in  the  cap,  gives  the  im- 
pression that  there  cannot  be  anything  but  the 
paper  covering  the  ends  of  the  tube.  When  the 
pin  is  withdrawn  the  air  rushes  into  the  tube, 
and,  as  a  natural  consequence,  the  paper  and  disc 
fall  from  the  bottom,  liberating  the  water.  The 
bowl  should  be  half  full  of  water  when  the  cap 
falls,  to  avoid  fracture  of  the  glass.  The  cap  is 
then  brought  away  from  the  top  of  the  tube  un- 
der cover  of  the  piece  of  paper,  and  both  are 
dropped  into  the  bowl,  when  the  tube  can  be 
once  more  given  for  examination. 

The  Hydrostatic  Tumbler. — This  trick, 
which  is  similar  in  principle  to  that  immediately 
preceding  it,  is  preferred  by  some  as  being  less 
cumbersome  ;  it  is  also  easier  to  work  and  conse- 
quently entails  less  anxiety  on  the  part  of  the 


184 


/IRa^fc 


performer.  The  effect,  however,  although  pretty, 
is  not  quite  so  startling. 

The  necessary  apparatus  consists  of  a  glass 
tumbler  with  a  small  hole  drilled  in  the  side  one 
inch  from  the  bottom,  the  mouth  of  which  must 
be  fitted  with  a  glass  cap  in  the  same  manner  as 
the  tube  in  the  preceding  trick.     (See  Fig.  45.) 

The  performer  having 
drawn  attention  to  the 
tumbler,  also  a  small  piece 
of  paper,  dips  the  latter 
into  a  bowl  of  water,  and 
lays  it  down  over  the 
glass  cap.  The  tumbler, 
held  with  the  thumb  cov- 
ering the  small  hole,  is 
then  filled  with  water 
from  the  bowl,  and  cov- 
ered with  the  piece  of 
paper  under  which,  un- 
known to  the  audience,  is 
the  glass  disc.  The  glass 
is  then  inverted  and  the 
paper  withdrawn,  the 
water  remaining  sus- 
pended without  visible  means  of  support. 
The  tumbler  can  now  be  turned  about  in  any  di- 


Fig.  45. — Hydrostatic 
Tumbler 


/!C>i6ceUaneou5  Crlcfts  185 

rection,  without  the  least  fear  of  the  water  escap- 
ing, so  long  as  the  thumb  is  kept  over  the  small 
hole  in  its  side.  It  can  also  be  stood  on  the  table, 
the  hand  being  removed  entirely  ;  the  water  can- 
not escape  through  the  small  hole  owing  to  the 
presence  of  the  cap. 

The  tumbler  is  once  more  raised  and  inverted, 
when  the  performer  undertakes  to  cause  the 
water  to  fall  at  any  given  number  counted  by  the 
audience.  This  last  effect,  which  adds  considera- 
bly to  the  trick,  is  brought  about  by  very  simple 
means  ;  all  the  performer  has  to  do  is  to  remove 
the  thumb  covering  the  small  hole,  when  the  air 
rushes  in  and  causes  the  disc  to  fall.  The  bowl, 
as  before,  should  be  half  full  of  water,  to  provide 
a  cushion  for  the  falling  disc,  which  under  these 
circumstances  will  not  be  injured,  nor  its  pres- 
ence detected. 

Papee  Cone,  Watch,  Eabbit,  and  Boxes. — 

The  effect  of  this  excellent  stage  trick  is  as  fol- 
lows :  A  watch  is  borrowed  and  dropped  into  a 
conical  paper  bag  held  by  one  of  the  spectators. 
The  performer  then  loads  the  magic  pistol  with 
a  small  silk  handkerchief ;  this  he  fires  in  the  di- 
rection of  the  bag,  after  which  the  bag  is  opened 
and  found  to  contain  the  handkerchief,  the  watch 


186 


/IRaafc 


having  disappeared.  Attention  is  next  drawn  to 
a  box,  which  has  been  hanging  over  the  head  of 
the  performer  from  the  commencement  of  the 
entertainment,  and  which  on  being  opened  is 
found  to  consist  of  a  nest  of  six  boxes,  the  small- 
est of  which  contains  a  rabbit  with  the  borrowed 
watch  tied  round  its  neck. 

The  main 
secret  of  the 
trick  lies  in 
the  paper  bag, 
which  is  really 
double,  con- 
sisting of  two 
pieces  of  pa- 
per gummed 
Fig.  46— Paper  Cone  together  round 

the  edges,  the  corner  of  one  piece  being  removed, 
as  in  Fig.  46. 

At  the  commencement  of  the  trick  a  small  silk 
handkerchief  is  hidden  between  the  two  pieces  of 
paper.  When  making  the  bag  it  must  be  so  ar- 
ranged that  the  corner  at  which  is  the  opening  is 
at  the  top.  Under  cover  of  the  point  of  the  bag 
the  handkerchief  is  removed  from  its  j^lace  of 
concealment  and  dropped  into  the  bag  proper, 
the  double  side  being  immediately  pulled  over  to 


/■•■--     / 

^ 

r 

,^s=~ 

^ 

-" 

^ 

\ 

f 

x 

\ 

-.... 

*--.. 

••-.^^ 

\, 

Jrf. 

"~-.., 

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'*-• 

X 

f 

> 

"*"  ■ 

"'''• 

Miscellaneous  Cricfts  187 

the  opposite  side  of  the  bag  to  again  conceal  the 
handkerchief.  If  the  bag  is  well  made,  and  this 
side  well  creased  over,  a  casual  glance  into  its  in- 
terior Avill  reveal  nothing  suspicious.  In  this  con- 
dition the  bag  is  given  to  a  spectator  to  hold,  and 
he  is  then  requested  to  drop  the  watch  into  it, 
which  he  does,  as  he  thinks,  into  the  bag  proper, 
but  really  the  watch  falls  into  the  position  pre- 
viously occupied  by  the  handkerchief.  The  top 
of  the  bag  is  then  folded  over. 

The  performer  now  loads  a  duplicate  handker- 
chief into  the  pistol,  and,  having  disposed  of  it  in 
the  usual  way,  fires  in  the  direction  of  the  bag. 
He  then  unfolds  the  bag  and  shakes  out  the 
handkerchief,  being  careful  to  hold  the  watch  so 
that  it  does  not  fall  at  the  same  time.  He  then 
crumples  up  the  paper  in  his  hands,  and  in  the 
act  of  doing  so  tears  out  the  watch,  which  is 
forthwith  palmed,  the  paper  being  thrown  away. 

The  box,  which  should  be  suspended  with  two 
cords  over  pulleys,  is  then  lowered ;  and  when 
taking  it  in  his  hands  to  place  it  on  the  table  the 
performer  is  able  to  secretly  attach  the  watch  to 
a  swivel  hook  which  is  hanging  on  the  side  most 
remote  from  the  audience.  This  swivel  hook  is 
attached  to  the  ribbon  round  the  rabbit's  neck, 
the  arrangement  being  as  follows  : — The  ribbon 


188  /Iftagfc 

is  tied  round  the  rabbit,  which  is  then  placed  in 
the  smallest  box,  the  ribbon  being  allowed  to 
hang  outside  the  box  when  the  lid  is  closed.  The 
box  is  then  placed  in  the  next  larger  one,  the  rib- 
bon still  being  allowed  to  hang  outside.  This  is 
continued  until  the  ribbon  is  left  hanging  on  the 
outside  of  the  last  box. 

The  solution  will  now  be  clear.  As  the  boxes 
are  removed  one  after  the  other  the  watch  is 
suspended  behind  that  last  exposed ;  and  w^hen 
the  rabbit  is  taken  out  it  will  be  impossible  to 
tell  that  the  watch  was  not  actually  removed 
from  the  same  box. 

The  Magical  Production'  of  Flowers. 
— Whenever  possible,  it  is  always  best  to  lead  up 
to  an  elaborate  trick  with  a  succession  of  smaller 
illusions  of  the  same  nature.  This  is  well  illus- 
trated in  the  *'  Marvelous  production  of  Flowers," 
which  in  good  hands  is  a  most  pleasing  and  mys- 
terious experiment.  Flower  tricks  always  take 
well,  especially  with  the  feminine  part  of  the  au- 
dience, and  ambitious  amateurs  should  strive  to 
have  at  least  one  good  illusion  of  this  character 
on  their  programmes.  The  magician  comes  for- 
ward, with  the  announcement,  "  Ladies  and 
gentlemen,   I   notice   that   in   my  hurry  I  have 


/Rlscellaneous  ^ricfts  189 

neglected  to  provide  myself  with  the  customary 
bottonhole  bouquet,  but,  fortunately,  I  have  here 
a  quantity  of  magic  seed  capable  of  producing  a 
rose  garden  if  required."  Show  a  small  box, 
which  is  supposed  to  contain  the  seed,  while  in 
reality  it  is  empty.  "  You  see  I  have  only  to 
place  a  single  seed  here  in  my  buttonhole  and 
after  breathing  on  it  a  moment,  to  supply  the 
necessary  heat,  I  touch  it  with  my  wand  and  in- 
stantly^ we  have  a  beautiful  rose.  ISTow,  if  some 
gentleman  will  kindly  loan  me  a  silk  hat  for  a 
moment,  I  will  show  you  a  method  by  which 
bouquets  may  be  produced  while  you  wait.  I 
only  have  to  place  the  hat  over  this  glass  goblet, 
which,  you  see,  is  Cjuite  free  from  deception,  and 
here  we  have  a  handsome  bouquet."  Eemove 
the  hat  and  find  the  goblet  still  empty.  "  How 
is  this  ?  Ah,  I  remember  now,  I  neglected  to 
put  any  of  the  magic  seed  in  the  goblet.  I  will 
just  put  in  a  pinch  of  various  kinds  and  try 
again."  Place  hat  over  the  glass  again  and  in- 
stantly raise  it,  and  discover  a  large  bouquet. 
^'  You  perceive  the  seed  acts  instantaneously." 

While  saying  this  brush  the  hat  carefully  and 
walk  down  as  if  to  return  it,  still  holding  the  box 
of  seed.  Once  among  your  audience  you  exclaim, 
'•  What  is  that  ?     You  don't  believe  me  ?     Why? 


190  /IRagic 

see  here ;  b}^  just  putting  a  pinch  of  the  seed  into 
this  hat  and  breathing  on  it,  thus,  I  will  produce 
bouquets  for  all  present."  Show  hat  nearly  full 
of  small  bouquets  and  distribute  them.  Then  re- 
turn hat  saying :  "  I  thank  you,  sir,  for  the  use 
of  your  hat,  which  seems  particularly^  fitted  for 
raising  flowers." 

Now  for  the  explanation : — To  pi^epare  for  pro- 
ducing a  flower  in  the  buttonhole,  take  a  piece  of 
black  elastic  cord  about  a  foot  in  length  and  put 
one  end  of  it  through  the  centre  of  an  artificial 
rose,  from  which  the  stem  has  been  removed, 
knotting  the  end  to  keep  it  from  slipping  through. 
Pass  the  other  end  through  the  buttonhole,  also 
through  a  small  hole  made  in  the  coat  just  be- 
hind the  buttonhole,  and  then  down  and  fasten  to 
the  suspender  button  on  the  back  of  your  trousers. 
Draw  the  flower  away  from  the  buttonhole  and 
conceal  it  under  the  left  armpit,  and  as  you  touch 
the  spot  with  the  wand  raise  the  left  arm  slightly, 
freeing  the  flower,  which  will  instantly  fly  to  the 
buttonhole. 

After  borrowing  the  hat  place  it  over  the  glass, 
as  above,  and  after  removing  let  the  brim  rest  on 
the  table  a  second  while  looking  at  the  glass. 
During  this  brief  time  slip  your  finger  into  the  little 
cardboard  tube  which  serves  as  a  handle  to  the 


/Bbiscellaneous  ^ncfts 


191 


bouquet,  which  lies  on  the  shelf  at  the  back  of  your 
table  and  just  beneath  the  hat.  By  closing  the 
fingers  the  bouquet  is  brought  into  the  hat.  (See 
fig.  4:7).  This  takes  only  a  fraction  of  a  second, 
and  as  all  are  looking  for  the  bouquet  in  the 


Fig.  47. — Production  of  Flowers 

glass  the  movement  is  entirely  invisible.  As  soon 
as  the  hat  is  "  loaded  "  raise  it  quite  a  distance 
above  the  table  and  hold  it  there  while  you  pre- 
tend to  put  the  seed  in  the  glass.  As  soon  as  the 
boucjuet  is  shown  in  the  glass,  let  the  hat  rest  on 
the  table  as  before,  and  introduce  the  small  bou- 


192 


^adic 


quets,  which  are  tied  together  with  a  weak  thread 
and  are  provided  with  a  tube  like  the  large  bou- 
quet. When  you  appear  to  put  the  seed  in  the 
hat,  break  the  thread  and  shake  up  the  bouquets 
loosely,  and  they  will  nearly  fill  the  hat.  Of 
course  you  must  keep  your  eyes  fixed  on  the 


Fig.  48. — Production  of  Rose-Bushes 

goblet  while  loading  the  hat,  and  never  allow 
yourself  to  glance  toward  the  left  hand  which 
holds  the  hat,  as  that  would  give  your  audience 
a  hint  that  something  was  going  on  in  that  quar- 
ter. 

"We  now  come  to  the  production  of  rose-bushes 


flbl0ccllaneou0  ^ricfta  193 

from  flower-pots  which  contain  nothing  but  a 
small  quantity  of  white  sand.  It  is  Kellar's  most 
famous  illusion.  Two  small  tables,  draped  within 
a  foot  or  more  above  the  floor,  are  seen  on  the 
conjurer's  stage.  On  each  table  is  a  miniature 
stand  on  which  are  flower-pots,  (Fig.  48).  After 
the  pots  have  been  examined  by  the  spectators, 
the  performer  places  them  on  the  stands,  and 
plants  seeds  in  them.  A  pasteboard  cone,  open  at 
both  ends,  is  exhibited,  and  placed  for  a  second 
over  flower-pot  No.  1.  When  it  is  removed  a 
green  sprig  is  seen,  which  the  magician  declares 
has  just  sprouted.  He  then  places  the  cone  over 
flower-pot  E'o.  2.  Eemoving  it  a  full  grown  rose- 
bush appears,  covered  w^ith  buds  and  roses  in  full 
bloom.  A  second  rose-bush  is  then  produced 
from  flower-pot  No.  1.  The  roses  are  culled  and 
presented  to  the  ladies  in  the  audience.  The  fol- 
lowing is  an  explanation  of  the  trick : 

The  tables  are  open  at  the  back,  the  drapery 
not  extending  completely  around  them.  At- 
tached to  the  leg  of  each  table  is  a  small  shelf, 
which  is  of  course  concealed  by  the  drapery, 
(Fig.  49).  The  bushes  are  stumps,  to  the  branches 
of  which  are  tied  the  roses.  Each  bush  has  as  a 
base  a  circular  piece  of  lead,  which  fits  into  the 
flower-pot.     The  bushes  are  suspended  inside  of 


194 


/DSadtC 


cones,  (Fig.  49  a)  which  are  placed  on  the  secret 
shelv^es  above  described.  The  performer  covers 
the  first  pot  with  the  cone  in  his  hand,  and  drops 
from  his  palm  the  green  sprig  which  sticks  into 
the  sand.  As  attention  is  being  called  to  the 
sprout,  the  magician  drops 
the  empty  cone,  just 
shown,  down  behind  the 
table  over  the  prepared 
cone  and  rose-bush  and 
brings  them  up  under 
cover.  The  loaded  cone 
fits  closely  into  the 
empty  one,  but  as  an  ad- 
ditional security  is  held 
in  place  by  the  fingers 
of  the  performer.  He 
goes  to  the  second  table 
and  places  the  cone  over 
the  flower-pot.  The  rose- 
bush is  allowed  to  drop 
Fig.  49.— Table  for  Flower  into  the  pot,  the  thread 
^^^^  which    fastens  it  having 

been  detached.  The  bush  is  now  shown.  As 
soon  as  the  cone  is  removed  the  hand  naturally 
and  carelessly  drops  behind  with  it  over  the  next 
prepared  cone  on  the  shelf,  and  the  performer 


flSfsccUaneous  Criclis 


195 


produces  a  rose-bush  from  the  first  flower-pot. 
He  now  has  three  cones,  one  inside  of  the  other. 
To  facilitate  the  picking  up  of  the  cones  in  suc- 
cession the  back  part  of  each  table  top  is  cut  out 
in  crescent  shape. 

Magic  Incubation. — To  produce  a  quantity 
of  eggs  from  an  empty  handkerchief  is  a  favorite 


Fig.  50. — Magic  Incubation 

experiment  with  magicians.  It  is  a  modification 
of  the  old  egg-bag  trick,  but  far  more  effective 
and  but  little  known.  The  materials  used  are 
easily  procured : — a  blown  egg,  to  which  is  at- 
tached a  piece  of  thread,  and  a  silk  handkerchief. 
Fasten  the  egg  to  the  handkerchief  by  means  of 


196  /llbaQfc 

the  thread,  as  shown  in  Fig.  50.  Spread  out  the 
handkerchief,  when  exhibiting  the  trick,  and 
show  that  both  sides  are  free  from  preparation. 
To  do  this  3^ou  must  keep  the  egg  concealed 
in  your  right  hand,  and  at  the  moment  let 
it  fall  in  the  position  depicted  in  the  illustra- 
tion, (Fig.  50).  The  thread  will  hold  it  in  the 
centre  of  the  handkerchief.  But  remember  to 
keep  the  handkerchief  waving  slightly,  other- 
wise the  impact  of  the  falling  egg  against  it 
might  betray  the  secret  of  the  trick.  It  is  hardly 
necessary  to  say  that  the  "  egg-side  "  of  the  hand- 
kerchief is  turned  toward  yourself.  Explain  to 
the  audience  that  you  are  going  to  magically  pro- 
duce an  egg.  Take  the  right  hand  corner  of  the 
handkerchief  in  your  mouth  and  hold  the  left 
corner  with  your  left  hand.  ]S"ow  place  the  fore- 
finger of  the  right  hand  against  the  upper  part 
of  the  handkerchief,  the  side  facing  yourself,  and 
fold  the  handkerchief  over,  grasping  the  two 
upper  corners  with  your  left  hand.  Next  hold 
the  lower  corners  with  your  right  hand  and  bring 
the  handkerchief  to  a  horizontal  position.  Tilt 
one  end  of  it  over  a  hat  and  an  egg  will  be  seen 
to  fall,  (Fig.  51).  Shake  out  the  handkerchief 
and  repeat  the  above  described  operation  of  pro- 
ducing eggs    until   the  hat  is   apparently  full, 


/fciscellaneous  Cricfta 


197 


after  which  you  may  turn  it  over  and  show  it 
empty.  This  trick  neatly  executed  never  fails 
to  elicit  well  deserved  applause  from  the  audience. 
Perhaps  a  better  way  to  conclude  the  trick  would 
be  to  show  that  the  hat  really  contained  a  num- 
ber of  eggs,  which  of  course  must  be  loaded  into 


Fig.  51.— Incnbation  Trick 

it  prior  to  commencing  the  trick.  The  best  way 
to  do  this  is  to  have  the  eggs  in  a  black  silk  bag 
which  you  conceal  inside  your  vest.  After  hav- 
ing borrowed  the  hat  and  while  your  back  is 
turned  to  the  spectators  during  your  journey  to 


198  OsnQic 

the  stage,  slip  the  bag  full  of  eggs  into  the 
hat.  Then  begin  your  handkerchief  feat.  It 
is  a  weak  point,  in  my  opinion,  to  show  the  hat 
empty,  after  having  apparently  placed  so  many 
eggs  into  it.  Some  acute  spectator  is  apt  to 
jump  to  the  conclusion  that  there  was  but  one 
egg  used  during  the  experiment. 

The  Wizard's  Omelet. — The  recipes  for 
making  a  magical  omelet  are  numerous  and  varied. 
Some  magicians  produce  the  eggs  from  the  mouth 
of  a  negro  assistant  following  the  example  of  Alex- 
ander Herrmann,  and  make  the  omelet  in  a  bor- 
rowed hat.  I  once  saw  a  clown  in  a  French  circus 
produce  an  omelet  in  a  small  frying-pan,  without 
using  eggs  at  all — or  more  properly  speaking, 
without  the  apparent  use  of  eggs.  He  stirred  his 
wand  about  in  the  pan,  holding  the  latter  over  a 
spirit  lamp,  and  presently  turned  out  into  a  dish 
an  excellent  omelet,  smoking  hot  and  very  pala- 
table. He  cut  up  the  omelet  and  passed  it  around 
among  the  audience.  Those  who  partook  of  it 
pronounced  it  to  be  delicious  and  worthy  of  the 
chef  of  the  Hotel  Grand.  This  is  the  way  the 
trick  is  accomplished  :  There  is  no  preparation 
about  the  frying-pan  ;  that  is  all  fair  and  square, 
as  well  as  round.     It  may  be  examined  by  the 


/BM6Ccllaneou6  Q:ricft6  199 

spectators  ad  libitum.  Xot  so  the  magic  wand, 
which  is  hollow  and  filled  with  the  contents  of 
several  eggs.  One  end  of  the  wand  has  an  open- 
ing which  is  stopped  up  with  a  piece  of  butter. 
When  the  pan  is  heated  the  butter  melts  and  the 
beaten-up  eggs  run  out  of  the  wand  and  are 
speedily  metamorphosed  into  an  omelet.  The 
stirring  of  the  pan  with  the  wand,  supposed  to 
be  a  part  of  the  conjurer's  performance,  is  really 
necessary  to  the  trick.  The  wand  is  usually 
made  of  tin.  It  must  be  an  exact  imitation  of 
the  wooden  wand  used  during  the  course  of  the 
entertainment. 

The  Woi^DERFUL  Peoductictt  of  Eibbons 
AT  THE  FiXGER-TiPS. — This  is  an  excellent 
little  trick  and  one  very  suitable  as  an  introduc- 
tion to  a  complete  "  production"  trick,  where  ob- 
jects of  ever-increasing  size,  in  a  compressed  con- 
dition, are  produced  under  cover  of  similar  ob- 
jects, of  a  smaller  size,  but  displayed  to  the  best 
advantage.  The  performer  having  shown  both 
hands  unmistakably  empty,  commences  to  pull 
yard  after  yard  of  real  colored  silk  ribbon  from 
the  extreme  tips  of  the  fingers. 

The  secret  depends  upon  the  little  accessory  il- 
lustrated in  Fig.  52.     This  is  a  shield  made  to  fit 


200 


as^Qic 


the  second  finger  of  the  right  hand,  provided 
with  a  lid  to  keep  the  four  coils  in  position,  also 
with  a  corresponding  number  of  slots  on  the 
front  through  which  the  ribbon  may  be  with- 
drawn. Each  piece  of  ribbon 
should  be  about  two  yards  long 
and  of  a  width  to  readily  pass 
the  slot.  Kibbon  drawn  from  the 
apparatus  when  in  position,  see 
Fig.  53,  will  seem  to  come  from 
the  finger-tips. 

After  a  quantity  of  ribbon  has 
been  produced  in  this  manner,  the 
magician  may  very  well  bring  out 
a  larger  supply  from  his  vest 
under  cover  of  gathering  up  the  mass 
of  material.  An  excellent  winding  up 
of  the  trick  would  be  the  production  of 
a  dove  from  breast  pocket. 


Fig.  52.— The 
Accessory 


Japattese  Bird  Vanish. — The  old 
Mouchoir  du  Diable,  or  Devil's  Hand- 
kerchief,  for  vanishing  small  objects  ^jg  53 
will  be  known  to  the  majority  of  my  Production 
readers  :  at  the  best  it  was  but  a  clumsy 
expedient  for  producing  a  magical  disappearance, 
and  on  that  account  was  very  little,  if  ever  used. 


flbtsccllaneous  G^tlcfts 


201 


The  Xew  Devil's  Handkerchief,  as  used  by 
Japanese  conjurers  to  cause  the  disappearance  of 
a  bird,  Avill,  on  the  contrary,  I  feel  sure,  be  found 
of  practical  utility  to  the  magical  fraternity.  In 
practice  it  is  merely  held  by  the  four  corners, 
ostensibly  in  the  most  careless  manner  possible, 
and  any  object  as  an  egg,  ball,  orange,  bird,  etc., 
dropped  into  the  bag  thus  formed  instantly  dis- 
appears, the  handkerchief  being  immediately 
shaken  out  and  both  sides  shown. 

This  seeming  prodigy 
is  thus  explained. — Two 
handkerchiefs,  preferably 
of  soft  silk  and  rather 
large  (neck  handkerchiefs 
for  instance),  are  sewn 
all  round  their 
with  the  excep- 
tion of  a  portion  at  one 
corner  as  shown  by  the 
dotted  lines  in  Fig.  54.  The  handkerchiefs  are 
also  sewn  together  from  the  said  corner  to  the 
centre  as  further  indicated  by  the  dotted  lines  in 
the  figure.  A  bag  is  thus  formed  into  which  the 
object  is  actually  dropped.  The  introduction  of 
the  object  into  the  bag  is  facilitated  by  the  in- 
sertion of  a  couple  of  whalebone  strips  in  the  silk 


together 
edges 


Fig.  54. — Bag  for  Yanishing 


202  iKSUQiC 

at  the  mouth  of  the  bag.  These  strips  keep  the 
mouth  of  the  bag  closed  until  pressure  be  applied 
at  their  ends,  when  the  bag  will  open,  receive  the 
object,  and,  on  the  pressure  being  removed,  will 
close  again,  keeping  all  secure. 

New  Fire  Trick. — The  writer  is  indebted 
to  Mr.  Martinka  for  this  novel  experiment.  A 
thin  glass  tube,  in  the  end  of  which  is  secured 
a  small  piece  of  metallic  potassium,  is  pasted 
between  two  pieces  of  tissue  paper.  So  pre- 
pared the  paper  is  shown  from  both  sides, 
being  apparently  a  plain  piece  of  white  paper. 
This  is  rolled  into  a  cylinder,  not  unlike  an 
exaggerated  cigarette.  The  performer  opens 
his  mouth  to  show  that  nothing  is  concealed 
there,  and  then  proceeds  to  blow  through  the 
paper  tube,  when  the  far  end  bursts  into  a  flame 
of  more  or  less  intensity. 

Explanation. — While  pretending  to  blow 
through  the  paper  cylinder,  the  performer  brings 
some  saliva  into  the  glass  tube.  When  blown 
through  the  tube,  the  saliva  comes  in  contact  with 
the  potassium,  which  ignites  and  sets  fire  to  the 
paper.  To  produce  a  larger  flame  and  sparks,  a 
small  piece  of  gun  cotton,  sprinkled  with  powdered 


flbf0cellancou0  tlrlcfts  203 

aluminum  can  be  placed  near  the  end  of  the  tube. 
The  potassium  metal  has  to  be  kept  in  a  bottle 
and  covered  with  kerosene.  Whenever  required 
for  the  trick  a  piece  is  cut  off  with  a  knife.  Care 
must  be  taken  not  to  make  the  mistake  of  putting 
the  wrong  end  of  the  tube  in  the  mouth.  When 
the  paper  bursts  into  flame  it  is  crumpled  into  a 
ball  and  dropped  on  a  plate.  The  thin  glass  tube 
is  crushed  into  small  bits  by  the  above  operation, 
and  is  not  seen  by  the  audience. 

The  Eixg  On  The  Wand. — A  very  pretty 
and  graceful  parlor  trick  is  the  ring  on  the  wand. 
Suspend  a  plain  gold  ring  to  the  centre  of  a  hand- 
kerchief by  means  of  a  short  piece  of  silk  thread. 
Come  forward  with  the  handkerchief  in  your 
pocket,  and  borrow  a  ring  as  much  like  your  own 
as  possible.  Pretend  to  wrap  up  this  ring  in 
jour  handkerchief,  but  substitute  for  it  the  fake 
ring.  Give  the  handkerchief  with  ring  in  it  to 
some  one  to  hold  and  ask  him  if  he  still  feels  the 
ring  contained  therein.  He  will  reply  in  the 
affirmative.  You  now  get  your  wand  from  a 
table.  While  doing  this  take  the  opportunity  to 
slip  the  borrowed  ring  which  you  have  in  your 
hand  over  one  end  of  the  wand,  keeping  it  con- 
cealed.    Approaching  the  individual  who  holds 


204  /nba^fc 

the  handkerchief  request  him  to  place  it  over  the 
middle  of  your  wand  which  you  hold  horizontally 
by  its  centre,  having  slid  your  hand  (with  the 
concealed  ring)  along  its  smooth  surface.  Now 
request  two  spectators  to  hold  either  end  of  the 
wand  tightly.  Explain  that  you  will  cause  the 
ring  in  the  handkerchief  to  appear  upon  the 
wand,  despite  the  fact  that  the  latter  is  firmly 
held  by  two  persons.  Remove  your  hand  from 
the  wand  and  take  hold  of  the  handkerchief. 
With  a  hey  presto,  give  the  handkerchief  a  quick 
jerk  and  shake  it  out.  The  borrowed  ring  on  the 
wand  will  spin  around  in  lively  fashion,  as  if  it 
had  really  left  the  handkerchief  and  by  some 
magical  means  appeared  upon  the  wand.  Your 
handkerchief  with  the  fake  ring  attached  must 
be  pocketed  as  speedily  as  possible.  It  might  be 
well  to  borrow  a  plain  white  handkerchief  from 
some  one  in  the  audience  and  exchange  it  for 
your  prepared  handkerchief. 

Disappearing  Glass  of  Water. — This 
clever  illusion  is  a  favorite  with  many  perform- 
ers, and  is  particularly  adapted  to  drawing-room 
entertainments.  It  was  invented  by  Colonel 
Stodare,  originator  of  the  famous  "  Sphinx  "  trick. 
Since  Stodare's  time  many  improvements  have 


/Ibiscellancous  ^ricfte 


205 


been  made  in  it,  one  idea,  emanating  from  the 
fertile  brain  of  Dr.  Elliott.  Stitch  two  silk  hand- 
kerchiefs, preferably  of  a  dark  color,  together  in 

the  manner  shown 
in  the  diagram  (Fig. 
55),  having  first  in- 
serted in  the  trian- 
gular space  between 
them  a  disc  of  thin 
tin,  of  the  same  di- 
ameter as  the  mouth 
of  the  glass  used. 
Now  to  the  middle 


Fig.  55. — Silk  Handkerchief 


of  the  under  surface 
of  the  tin  fake  solder 
a  little  band  of  tin 
just  large  enough  to 
snugly  fit  over  the 
tip  of  the  second  or 
index  finger  of  your 
left  hand,  (Fig.  56). 
This  constitutes 
Elliott's  improve- 
ment. Exhibit  the 
handkerchief  to  the 
spectators,  calling  attention  to  the  fact  that  it 
contains  nothing.     Twist  it  rope  fashion,  and  pull 


Fig.  56. — Fake  on  Finger 


206 


Abadic 


it  through  your  left  hand,  thereby  demonstrating 
that  nothing  could  possibly  be  concealed  in  it. 
This  you  are  enabled  to  accomplish  by  grasping 
the  tin  fake  and  retaining  it  in  the  right  hand. 
Finally  shake  out  the  handkerchief,  releasing  the 
disc,  which  will  now  fall  to  the  centre  of  the 
handkerchief  and  be  kept  in  position  by  the  trian- 
gular stitching.     At  the  rear  end  of  your  table 

you  have  a  glass 
filled  with  wa- 
ter. Spread  the 
handkerchief 
over  the  glass, 
bringing  the  tin 
shape  over  the 
mouth  of  the 
same.  Lift  up 
the  fake,  and 
under  cover  of 
the  handker- 
chief lower  the  glass  upon  the  shelf  behind  the 
table.  The  handkerchief,  distended  by  the  tin 
disc,  will  present  the  appearance  of  having  the 
glass  of  water  under  it.  'No^y  step  forward  as 
though  holding  the  glass  of  water.  Place  the  left 
hand  beneath  the  handkerchief,  and  quickly  insert 
the  index  finger  into  the  little  band  soldered  be- 


Fig.  57. — Handkerchief  in  Position 


flblscellaneous  bricks  207 

neath  the  disc,  the  right  hand  bearing  do^vn  at  the 
time  to  facilitate  matters.  To  an  audience  it  will 
seem  that  you  hold  the  glass  of  water  on  the  palm 
of  your  left  hand,  presenting  a  very  illusory  appear- 
ance indeed,  (Fig.  57).  To  vanish  the  glass  com- 
pletely all  you  have  to  do  is  to  catch  one  corner 
of  the  handkerchief  with  your  right  hand,  give  it 
a  sudden  flick  in  the  air,  which  releases  the  hold 
of  the  finger  of  the  left  hand,  when  lo  and  be- 
hold I  the  glass  of  water  has  melted  away.  To 
reproduce  it,  take  a  duplicate  glass  of  water  from 
your  coat-tail  pocket.  "  But ! "  says  the  dubious 
reader.  Ah,  we  are  coming  to  that !  There  is 
no  danger  of  spilling  the  water,  for  the  mouth  of 
your  glass  is  tightly  closed  with  a  rubber  cover. 
All  you  have  to  do  is  to  remove  the  cover  before 
exhibiting  the  glass. 

Anti-Geavity  WAXD.—The  use  of  the  wand 
has  been  sufficiently  explained  to  the  student.  In 
calling  attention  to  the  fact  of  its  being  endowed 
with  peculiar  properties,  similar  to  the  magic 
wand  of  Bulwer's  "Coming  Eace,"  the  conjurer 
might  execute  a  few  tricks  with  it  as  a  prologue 
to  his  programme.  The  "  Anti-gravity  wand," 
invented  by  that  clever  magician,  Dr.  Elliott, 
would  prove  useful  in  the  above  instance,  (Fig. 


208  /IBaflfc 

58).     It  consists  of  a  piece  of  brass  tubing  made 

to  correspond  with  the  performer's  ordinary  wand 

but  with  square  ends.     In  one  end  of  this  tubing 

is  inserted  a  cylindrical  lead  weight  made  to  fit 

nicely.     At  each  end  of  the  weight  is  glued  a 

piece  of  felt,  so  as  to  prevent  noise  while  the 

fake  is  working.     With  this  trick  wand  you  can 

apparently  defy  the  law  of  gravity.     It  is  divided 

—^.^ .         internally  into  three 

compartments,   two 

small  ones  at  either  end, 

and  a  larger  one  in  the 

centre,  by  means  of  the 

partitions,     which     do 

not,    however,    extend 

„.    ^^     .    .  ^     .    „r    .    completely    across    the 
Fig.  58.— Anti-Gravity  Wand  \        / 

wand.     A    quantity  of 

quicksilver  is  inserted  in  the  wand  and  the  ends 
sealed  up.  In  the  normal  condition,  this  will  re- 
main in  the  central  space,  but  if  the  wand  is  tilted 
either  way,  the  mercury  will  flow  into  the  little 
pocket  at  the  lower  end.  Should  this  end  be  laid 
upon  the  table,  the  weight  of  the  fluid  metal  would 
more  than  counterbalance  the  remaining  portion 
of  the  wand,  and  it  would  therefore  be  suspended 
apparently  in  space.  By  reversing  the  wand,  the 
other  end  would  perform  a  like  phenomenon. 


CHAPTER  X 

STAGE   TEICKS 

This  is  a  chapter  devoted  to  stage  illusions,  de- 
pendent mainly  for  their  effects  upon  ingenious 
mechanical  appliances,  and  not  to  skilful  manip- 
ulation of  the  performer.  Most  conjuring  exhi- 
bitions conclude  with  some  large  illusion.  They 
add  zest  to  the  entertainment.  One  of  our  lead- 
ing conjurers,  Kellar,  makes  a  specialty  of  them. 
He  presents  them  with  fine  scenic  effects. 

Aerial  SrsPEXSio:N-.— The  trick  of  the  aerial 
suspension,  presented  by  Herrmann  under  the 
name  of  the  "  Slave  Girl's  Dream,"  has  been,  and 
still  remains  a  great  favorite  with  many  con- 
jurers. In  this  experiment  a  lady  floats  in  the 
air  with  no  apparent  support  but  that  afforded 
by  a  pole  upon  which  her  right  arm  rests.  While 
suspended  in  this  fashion  she  is  draped  in  various 
pleasing  costumes,  finally  awakening  from  her 
pretended  mesmeric  trance  under  the  passes  of 
the  magician,  and  bowing  herself  off  the  stage. 

209 


210 


/IBagfc 


The  explanation  is  as  follows : — The  lady's  body 
is  encased  in  a  strong  framework  of  finely  tem- 
pered steel,  into  a  socket  of  Avhich  the  pole  en- 
ters and  is  rigidly  fixed. 

Figure  59  very  correctly  represents  the  harness 
worn  by  the  lady  in  per- 
forming this  trick  and  the 
manner  in  which  it  is  at- 
tached to  the  rigid  pole. 
This  frame  is  composed  of 
the  finest  steel,  and  when 
belted  and  strapped  on  the 
body  makes  it  perfectly 
rigid,  so  far  as  any  side 
motion  is  concerned.  At 
A  is  a  hinge,  which  is 
operated  by  ratchet  and 
paul,  and  this  bears  nearly 
the  whole  strain  of  the 
lady's   weight,    which,  in 

a    horizontal    position,  is 
Fig.  59.-The  Harness        ^^^^^     ^^^^^     ^^^^^^^     ^^ 

about  ten  times  the  actual  weight.  At  the 
centre  of  the  curved  steel  bar  is  a  plain  hinge. 
This  is  intended  to  allow  the  lady  to  use  her 
right  thigh  and  knee  in  walking  on  and  off  the 
stage. 


stage  c:rlch0 


211 


^^-^ 


Figure  60  shows  the  position  of  harness  and 
poles  after  being  adjusted,  the  drapery  being  dis- 
pensed with  in  order  to  show  the  working  of 
the  trick.  The  upright  pole  on  which  rests  the 
lady's  right  hand  is  a  substantial  affair,  and  is 
securely  fitted 
into  a  hole  in 
the  platform. 
On  the  top  there 
is  a  hole,  into 
which  fits  a 
stout  slot  in  the 
short  bar,  as 
shown  in  Fig. 
59.  This  short 
bar  is  concealed 
by  a  sort  of  flap, 
which  appears 
to  be  a  portion 
of  the  lady's 
costume,  tacked 
on  at  the  shoul- 
der. The  pole 
with  the  trick. 


Fig.  60. — Harness  Adjusted 


at  her  left  has  nothing  to  do 
and  is  only  introduced  to  dis- 
tract the  attention  of  the  audience.  The  left- 
hand  pole  and  stool  are  removed,  and  the  beauti- 
ful slave  girl  is  suspended,  as  shown  in  Fig.  61, 


212 


mnQic 


the  whole  strain  (?Dming  on  the  pole  and  the  steel 
work  of  the  harness. 

The  performer  now  lifts  the  lady  into  a  hori- 
zontal position  (Fig.  61),  where  she  is  maintained 

by  a  check  which  drops 
into  one  of  the  teeth 
of  the  ratchet  at  A. 
While  in  this  aerial 
sleep  she  is  adorned 
in  various  costumes. 
Finally  she  is  placed 
in  the  first  position, 
and  awakes  from  her 
supposed  mesmeric 
slumber.  Herrmann 
improved  this  appa- 
ratus by  causing  the 
lady  to  assume  the 
horizontal  position 
without  his  interven- 
tion. This  was  ac- 
complished by  machinery  beneath  the  stage,  a 
sort  of  windlass  affair  worked  by  a  stage  as- 
sistant. The  well-known  Fakir  of  Ooloo  still 
further  improved  this  trick  by  knocking  both 
poles  away.  Says  Arprey  Yere  on  this  subject : 
"What,  then,  will  you  ask,  becomes  of  all  the 


Fig.  61. — Girl  Suspended 


Sta^e  ^ricfts  213 

machinery  ?  The  two  poles  were  seemingly  taken 
away.  The  poles  used  consisted  of  brass  bars. 
The  calcium  light  beamed  upon  the  figure  of  the 


Fig.  62.— Girl  in  Horizontal  Position 

sleeping  lady,  while  the  rest  of  the  stage  was 
comparatively  dark.  Thus,  when  the  conjurer 
apparently  took  away  the  only  support  the  figure 


214  ^agic 

had,  the  audience  did  not  and  could  not  perceive 
that  he  really  took  away  the  brass  case  of  the  se- 
cured pole,  leaving  another,  the  actual  pole  on 
which  the  framework  was  fixed,  and  which  was 
of  the  same  color  as  the  drapery  of  the  stage.  It 
was  for  the  purpose  of  deceiving  the  eyes  of  the 
audience  that  the  pole  was  encased  in  a  brass 
shell  in  the  first  instance.  He  refixed  the  case 
before  the  stage  was  relit,  and  the  lady  woke  up 
from  her  sham  mesmeric  trance." 

Kew  Vanishing  Performer  Illusion. — 
The  writer  is  indebted  to  Mr.  William  E.  Kob- 
inson,  for  many  years  assistant  to  the  late  Alex- 
ander Herrmann,  for  this  simple  but  remarkably 
ejffective  illusion  called  by  him  the  "  Vanishing 
Performer."  The  effect  of  the  trick  is  as  follows  : 
The  performer  standing  upon  a  stool,  placed  in 
front  of  a  screen,  holds  up  a  shawl  in  front  of 
himself.  Hey  presto !  a  pistol  is  fired,  the  shawl  is 
dropped,  and  the  magician  is  seen  to  have  melted 
away  into  thin  air,  as  it  were.  Presently  he 
comes  running  down  the  centre  aisle  of  the 
theatre. 

The  principal  requisite  in  the  arrangement  of 
this  trick  is  a  large  screen,  which  should  be  dec- 
orated in  panels  on  each  fold,  and  be  a  threefold 


stage  Zxic}\3  215 

ono.  In  the  centre  fold  the  panel  must  be  hinged, 
so  as  to  open,  and  made  to  fit  nicely  the  better 
to  conceal  its  existence  from  the  audience.  This 
panel  must  be  about  twelve  inches  above  the 
base  of  the  screen,  and  if  possible  have  spring 
hinges.  This  screen  should  be  preferably  of  a 
dark  color. 

When  the  magician  steps  on  the  stool  he  out- 
stretches his  arms  and  hooks  the  shawl  on  a  fine 
thread,  which  is  placed  across  the  stage  at  the 
right  height.  lie  leaves  the  shawl  suspended  so 
that  the  end^  hang  over,  giving  the  appearance 
of  the  perfotHier's  fingers  being  under  them. 
Under  this  cover  he  quickly  steps  off  the  stool 
and  goes  through  the  panel  in  the  screen  at  the 
back.  As  the  shawl  does  not  reach  to  the  ground, 
the  performer's  legs  and  shoes  would  be  seen  by 
the  audience.  To  obviate  this  a  piece  of  stuff  the 
same  color  as  the  screen  is  used  as  a  kind  of  car- 
pet on  which  the  affair  takes  place,  and  when  this 
reaches  to  about  twelve  inches  from  the  screen, 
the  edge  is  turned  up  about  twelve  inches.  The 
conjurer  in  getting  off  the  stool  steps  dow^n  be- 
hind this  carpet.  A  pistol  is  fired,  and  the  per- 
former, or  his  assistant,  pulls  the  end  of  the 
thread,  which  thus  breaks  and  causes  the  shawl 
to  drop,  as  if  first  let  go  from  the  hands.     The 


216  USS^QiC 

shawl  should  be  about  six  feet  square.  It  should 
rest  about  nine  inches  from  the  stage  when  hung 
up.  Practice  to  let  as  few  seconds  as  possible 
elapse  between  the  moment  of  suspending  the 
shawl  and  dropping  it.  The  reappearance  of  the 
performer  is  easily  accounted  for. 

The  Blue  Eoom. — One  of  the  cleverest  illu- 
sions performed  with  the  aid  of  mirrors  is  that 
known  as  the  "  Blue  Eoom,"  which  has  been  ex- 
hibited in  this  country  by  Kellar.  It  is  the  joint 
invention  of  Prof.  John  Henry  Pepper,  of  Ghost 
illusion  fame,  and  James  J.  Walker,  both  of  Eng- 
land. It  was  patented  in  the  United  States  by 
the  inventors.  The  object  of  the  apparatus  is  to 
render  an  actor,  or  some  inanimate  thing,  such  as  a 
chair,  table,  suit  of  armor,  etc.,  visible  or  invisible 
at  will.  "  It  is  also  designed,"  says  the  specifica- 
tion in  the  patent  office,  "  to  substitute  for  an  ob- 
ject in  sight  of  the  audience  the  image  of  another 
similar  object  hidden  from  direct  vision  without 
the  audience  being  aware  that  any  such  substitu- 
tion has  been  made.  For  this  purpose  employ 
a  large  mirror — either  an  ordinary  mirror  or  for 
some  purposes,  by  preference,  a  large  plate  of 
plate-glass — which  is  transparent  at  one  end,  and 
more  and  more  densely  silvered  in  passing  from  this 


stage  Zxic\{B 


217 


toward  the  other  end.  Mount  this  mirror  or 
plate  so  that  it  can,  at  pleasure,  be  placed  diago- 
nally across 
the  stage  or 
platform. 
As  it  ad- 
vances the 
glass  ob- 
scures the 
view  of  the  actor 
or  object  in  front 
of  which  it  passes, 
and  substitutes 
the  reflection  of 
an  object  in  front 
of  the  glass,  but 
suitably  con- 
cealed from  the 
direct  view  of 
the  audience. 

'^  When  the  two 
objects  or  sets  of 
objects  thus  suc- 
cessively pre- 
sented to  the  view  are  properly  placed  and  suffix 
ciently  alike,  the  audience  will  be  unaware  that 
any  change  has  been  made.     In  some  cases,  in 


Fig.  64. — Diagram  for  Blue  Room 


218  ^aglc 

place  of  a  single  sheet  of  glass,  two  or  more 
sheets  may  be  employed. 

"In  the  drawings,  Fig.  63  represents  a  plan 
view,  and  Fig.  64  an  elevation,  of  a  portion  of 
the  mirror,  designed  to  show  its  graduated 
opacity. 

"  «  is  a  stage.  It  may  be  in  a  lecture-room  or 
theater,  h  h  are  the  seats  for  the  audience  in  front 
of  the  stage.  <?  c  is  a  small  room — eight  or  ten 
feet  square  and  eight  high  will  often  be  suf- 
ficiently large  ;  but  it  may  be  of  any  size.  It 
may  advantageously  be  raised  and  approached  by 
two  or  three  steps  from  the  stage  a. 

"(^  is  a  vertical  mirror,  passing  diagonally 
across  the  chamber  c  and  dividing  it  into  two 
parts,  which  are  exact  counterparts  the  one  of 
the  other.  The  mirror  d  is  so  mounted  that 
it  can  be  rapidly  and  noiselessly  moved  diago- 
nally across  the  chamber  in  the  path  represented 
by  the  dotted  line  d\  and  be  withdrawn  when- 
ever desired.  This  can  conveniently  be  done  by 
running  it  in  guides  and  upon  rollers  to  and  from 
a  position  where  it  is  hidden  by  a  screen,  e, 
which  limits  the  view  of  the  audience  in  this  di- 
rection. 

"  In  consequence  of  the  exact  correspondence 
of  the  two  parts  of  the  chamber  c,  that  in  front 


Sta(;e  ^rfcfts  219 

and  that  behind  the  mirror,  the  audience  will  ob- 
serve no  change  in  appearance  when  the  mirror 
is  passed  across. 

"  The  front  of  the  chamber  is  partially  closed 
at  c^  by  a  shield  or  short  partition- wall,  either 
permanently  or  whenever  required.     This  is  done 
in  order  to  hide   from   direct  view  any  object, 
which  may  be  at  or  about  the  position  c^. 

"The  illusions  may  be  performed  in  various 
ways — as,  for  example,  an  object  may,  in  the 
sight  of  the  audience,  be  passed  from  the  stage 
to  the  position  c^,  near  the  rear  short  wall  or 
counterpart  shield  /*,  diagonally  opposite  to  and 
corresponding  with  the  front  corner  shield  c^, 
and  there  be  changed  for  some  other.  This 
is  done  by  providing  beforehand  a  dummy  at 
c',  closely  resembling  the  object  at  c^.  Then 
when  the  object  is  in  its  place,  the  mirror  is 
passed  across  without  causing  any  apparent 
change.  The  object,  when  hidden,  is  changed 
for  another  object  externally  resembling  the  first, 
the  mirror  is  withdrawn,  and  the  audience  may 
then  be  shown  in  any  convenient  way  that  the 
object  now  before  them  differs  from  that  which 
their  eyesight  would  lead  them  to  suppose  it  to 
be. 

"  We  prefer,  in  many  cases,  not  to  use  an  ordi- 


220  fS^aQic 

nary  mirror,  d,  but  one  of  graduated  opacity. 
This  may  be  produced  by  removing  the  silvering 
from  the  glass  in  lines  ;  or,  if  the  glass  be  silvered 
by  chemical  deposition,  causing  the  silver  to  be 
deposited  upon  it  in  lines,  somewhat  as  repre- 
sented by  Fig.  63.  Near  one  side  of  the  glass  the 
lines  are  made  fine  and  open,  and  progressively 
in  passing  toward  the  other  side  they  become 
bolder  and  closer  until  a  completely-silvered  sur- 
face is  reached.  Other  means  for  obtaining  a 
graduated  opacity  and  reflecting  power  may  be 
resorted  to. 

"  By  passing  such  a  graduated  mirror  between 
the  object  at  c^  and  the  audience,  the  object  may 
be  made  to  fade  from  the  sight,  or  gradually  to 
resolve  itself  into  another  form." 

Hopkins  in  his  fine  work  on  "Magic,  stage 
illusions,  etc.,"  thus  describes  one  of  the  many 
effects  which  can  be  produced  by  the  Blue  Koom 
apparatus.  The  curtain  rises,  showing  "  the  stage 
set  as  an  artist's  studio.  Through  the  centre  of 
the  rear  drop  scene  is  seen  a  small  chamber  in 
which  is  a  suit  of  armor  standing  upright.  The 
floor  of  this  apartment  is  raised  above  the  level 
of  the  stage  and  is  approached  by  a  short  flight 
of  steps.  When  the  curtain  is  raised  a  servant 
makes  his  appearance   and  begins  to  dust  and 


stage  ^ricfts  221 

clean  the  apartments.  He  finally  comes  to  the 
suit  of  armor,  taking  it  apart,  cleans  and  dusts 
it,  and  finally  reunites  it.  Xo  sooner  is  the 
suit  of  armor  perfectly  articulated  than  the  soul- 
less mailed  figure  deals  the  servant  a  blow.  The 
domestic,  with  a  cry  of  fear,  drops  his  duster,  flies 
down  the  steps  into  the  large  room,  the  suit  of 
armor  pursuing  him,  wrestling  with  him,  and 
kicking  him  all  over  the  stage.  When  the  suit 
of  armor  considers  that  it  has  punished  the  serv- 
ant sufficiently,  it  returns  to  its  original  position 
in  the  small  chamber,  just  as  the  master  of  the 
house  enters,  brought  there  by  the  noise  and  cries 
of  the  servant,  from  whom  he  demands  an  ex- 
planation of  the  commotion.  Upon  being  told, 
he  derides  the  servant's  fear,  and,  to  prove  that 
he  was  mistaken,  takes  the  suit  of  armor  apart, 
throwing  it  piece  by  piece  upon  the  floor." 

It  is  needless,  perhaps,  to  explain  that  the  suit 
of  armor  which  becomes  endowed  with  life  has  a 
man  inside  of  it.  When  the  curtain  rises  a  suit 
of  armor  is  seen  in  the  Blue  Eoom,  at  H,  (Fig. 
65).  At  I  is  a  second  suit  of  armor,  concealed 
behind  the  proscenium.  It  is  the  duplicate  of  the 
visible  one.  When  the  mirror  G  is  shoved  diago- 
nally across  the  room,  the  armor  at  H  becomes 
invisible,  but  the  mirror  reflects  the  armor  con- 


222 


/Iftaslc 


cealed  at  I,  making  it  appear  to  the  spectators 
that  the  suit  at  H  is  still  in  position.  An  actor 
dressed  in  armor  now  enters  behind  the  mirror, 
removes  the  suit  of  armor  at  H,  and  assumes  its 
place.  When  the  mirror  is  again  withdrawn,  the 
armor  at  H  becomes  endowed  with  life.  Again 
the  mirror  is  shoved  across  the  apartment,  and 

the  actor  re- 
places the  origi- 
nal suit  of  ar- 
mor at  H.  It 
is  this  latter 
suit  which  the 
master  of  the 
house  takes  to 
pieces  and  casts 
upon  the  floor, 
in  order  to 
quiet  the  fears 
of  the  servant. 
This  most  in- 
genious apparatus  is  capable  of  many  novel  effects. 
Those  who  have  witnessed  Prof.  Kellar's  per- 
formances will  bear  witness  to  the  statement. 
When  the  illusion  was  first  produced  in  England, 
a  sketch  was  written  for  it  by  the  famous 
Burnand,  editor   of  "Punch."     It  was  entitled 


Fig.  65, — Diagram  of  Blue  Room 


stage  Q:rlch5 


223 


"  Curried  Prawns."  A  plethoric  old  gentleman 
who  had  been  indulging  in  a  midnight  dish  of 
curried  prawns  goes  to  bed,  and  is  visited  by  a 
soul-terrifying  nightmare.  Mephistopheles  sud- 
denly appears  to  him,  and  introduces  him  to  the 
mysteries  of  the  nether  world. 


Levitation. — The  performer  places  a  board 
on  the  tops  of  two  chairs.     A  lady  is  laid  on  the 


Fig.  66. — Levitation  Act 

board,  and  pretended  mesmeric  passes  made  over 
her  by  the  magician.  The  chairs  are  now  re- 
moved one  after  the  other,  and  the  lady  is  seen 
floating  in  the  air  (Fig,  66).  The  performer  then 
walks    completely    around    her.      In    order    to 


224 


/nsa^fc 


Fig.  67. — Top  View  of  Apparatus 


show  still  more  conclusively  that  she  is  not 
supported  by  any  arrangement  of  wires,  etc.,  he 
passes  a  large  solid  iron  hoop,  previously  given 
for  inspection  to  the  spectators,  over  her  ;  be- 
ginning at  her 
head.  This 
seeming  mir- 
acle, vaunted  as 
a  Hindoo  mys- 
tery, is  accom- 
plished in  the 
following  man- 
ner: The  board, 
A,  A  (Fig.  67), 
upon  which  the  lady  reclines,  is  about  three  feet 
distant  from 
the  back  scene. 
This  back- 
ground is  pro- 
vided with  a 
slit  through 
which  an  assist- 
ant pushes  three 
iron  rods  {c,  d, 
e),  beneath  the  board.  Another  important  part 
of  the  apparatus  is  a  small  car,  to  which  the  rods 
are   attached,  the  construction  of  which  is  ex- 


Fig.  68. — Side  View  of  Apparatus 


plained  in  Fig.  67  and  Fig.  6S,  which  gives  a  side 
view  of  the  car.  Kos.  1  and  2  are  the  wheels 
on  which  the  car  is  propelled.  The  iron  bars, 
of  which  only  one  is  shown  in  the  diagram,  run 
in  front  over  a  roller,  3,  and  at  the  back  be- 
tween two  rollers,  4  and  5,  so  that  the  as- 
sistant can  easily  push  the  bars  under  the  board, 
c,  which  holds  the  lady.  The  extreme  ends  of 
the  bars,  at  the  back,  are  counterbalanced  in 
order  to  equalize  the  weight.  To  enable  the  per- 
former to  go  behind  the  floating  lady,  also  to 
pass  the  hoop  about  her,  the  assistant  pulls  away 
the  iron  bar  at  one  end.  As  soon  as  the  per- 
former and  the  hoop  have  cleared  the  first  bar,  it 
is  pushed  back  into  place  again,  and  the  next  bar 
withdrawn,  allowing  free  passage  to  the  third 
bar,  which  is  also  withdrawn,  after  the  centre  bar 
has  been  pushed  back.  The  arms  of  the  lady 
overhanging  the  board  and  her  dress  conceal 
effectually  the  iron  bars  from  view  of  the  audience. 

The  Saratoga  Trunk  Mystery. — A  lady  is 
put  into  a  bag  and  locked  in  a  trunk,  on  top 
of  which  a  gentleman  takes  a  seat.  Two  assist- 
ants hold  a  cloth  in  front  of  the  trunk  for  a  few 
seconds.  On  taking  away  the  cloth  the  lady  is 
seen  sitting  on  the  trunk  while  inside  of  it,  after 


226 


OsnQic 


unlocking  the  same,  is  found  the  gentleman  tied 
in  the  bag. 

The  actors  in  this  illusion  have  to  work  with 
extreme  quickness. 

The  bag  in  which  the 
lady  is  tied  has  at  the  bot- 
tom a  false  seam,  made  of 
wide  stitches,  so  that  when 
one  end  of  the  thread  is 
pulled  the  whole  comes  out 
easily  leaving  the  bottom  of 
bag  open. 

In  this  way  the  lady  es- 
capes from  the  bag  without 


69.— Section  of 
Trunk 


injuring  the  ties 
in  any  way.  The 
lid  of  the  trunk  is 
prepared  so  that 
one  section  of  it 
opens  inward  (Fig. 
69  h).  The  frame 
(Fig.  70)  is  solid, 
whereas  the  strip 
F    which    runs 


Fig.  70.— Frame  of  Trunk 


across  the  top  can  be  pushed  sideways.  To  open 
the  trunk  the  strip  F  is  pushed  aside,  which  re- 
leases a  concealed  mechanism  that  keeps  the  false 


stage  ^ricfte  227 

panel  shut.  The  gentleman  opens  the  panel,  in 
the  manner  above  described,  whereupon  the  lady 
gets  out  of  the  trunk.  She  assists  the  gentleman 
to  get  into  the  bag,  and  closing  the  panel,  takes 
her  seat  on  the  top  of  the  trunk. 


CHAPTEH  XI 

SHADOWGRAPHY 

The  idea  of  projecting  silhouettes  with  the 
hands  on  a  wall  or  illuminated  screen  is  an  old 
one,  but  it  has  been  brought  to  great  perfection 
by  the  celebrated  French  conjurer  and  juggler, 
M.  Felician  Trewey,  and  his  English  confreres, 
David  Devant,  Ellis  Stanyon,  and  Hilliar.  Nota- 
ble among  the  American  exhibitors  of  shadow- 
graphy  is  Olivette,  the  "  Man  in  Black,"  whose 
clever  fingers  have  added  many  new  and  amusing 
figures  to  the  already  long  list.  The  above  named 
artists  enact  little  pantomimic  scenes,  such  as  a 
fisherman  in  a  boat,  going  through  the  usual  evo- 
lutions of  a  disciple  of  Izaak  Walton ;  a  policeman 
making  love  to  a  servant  girl ;  a  concierge  quar- 
reling with  a  belated  lodger ;  a  lover  serenading 
his  sweetheart,  etc. 

These  shadows  are  best  made  on  a  screen, 
which  is  illuminated  by  "  a  single  lamp  inclosed 
in  a  projecting  apparatus  throwing  very  divergent 

228 


S^baDowflrapbi?  229 

rays.  The  lens  must  consequently  be  of  very 
short  focus.  The  electric  light  or  oxy hydrogen 
lamp  necessary  in  a  theatre  may  be  replaced  at 
the  amateur's  house  by  a  lamp,  or  better,  by  a 
wax  candle."  Various  little  accessories  such  as 
pieces  of  cardboard,  fashioned  to  represent  head- 
gear and  the  like,  are  used  in  the  formation  of 
many  of  the  more  elaborate  figures.  The  use  of 
such  material  is  depicted  in  the  illustrations. 
Makers  of  magical  apparatus  manufacture  these 
accessories,  but  the  clever  amateur  can  cut  them 
out  from  sheets  of  cardboard  without  going  to 
the  expense  of  purchasing  them. 

A  cheap  and  easy  way  of  manufacturing  a  sil- 
houette of  a  friend  is  to  have  him  pose  in  front 
of  a  sheet  of  paper  hung  against  a  wall  which  is 
illuminated  by  a  candle.  All  you  have  to  do  is 
to  outline  with  a  pencil  the  shadow  cast  by  his 
face,  and  afterward  fill  in  the  white  space  with 
black  paint  or  crayon.  The  famous  Levater  con- 
structed an  ingenious  device  for  making  sil- 
houettes. It  is  thus  described  in  his  work  on 
physiognomy :  "  The  shadow  is  projected  upon  a 
fine  paper,  well  oiled  and  dried,  and  placed  be- 
hind a  piece  of  plate-glass  supported  in  a  frame 
secured  to  the  back  of  the  chair.  Behind  this  glass 
the  artist  stands,  and  holding  the  frame  with  one 


230  /ftaalc 

hand,  draws  with  the  other."  A  candle  furnished 
the  necessary  light. 

During  the  French  Eevolution,  it  was  a  dan- 
gerous thing  to  possess  a  likeness  of  the 
martyred  King  Louis  XVI.  The  scions  of  the 
nobility,  resident  in  Paris  in  disguise,  living, 
as  it  were,  in  the  shadow  of  the  guillotine, 
carefully  hid  all  souvenirs  of  the  king  and  royal 
family,  until  better  days  should  dawn.  To 
be  found  in  possession  of  a  portrait  of  the  ill- 
fated  Louis  meant  denunciation  and  death.  Fi- 
nally a  clever  wood  carver  of  royalist  persuasion 
succeeded  in  fashioning  a  cane  which  would  throw 
a  silhouette  upon  a  wall — a  likeness  of  Louis 
XYI.  He  drove  a  great  trade  among  the  aristo- 
crats, who  carried  these  walking  sticks  about 
with  impunity,  flourishing  them  under  the  very 
noses  of  the  revolutionists.  Nobody  could  pos- 
sibly suspect  a  cane.  Chessmen  were  also  made 
on  similar  principles.  When  the  tables  were 
turned  and  Louis  XYIII  came  to  his  own  again, 
it  was  a  dangerous  thing  to  indulge  in  Napoleonic 
relics.  A  carver  in  wood,  possibly  an  old  soldier 
of  the  Imperial  Guard,  constructed  a  silhouette 
cane  for  the  suppressed  Bonapartists. 

The  illustrating  of  books  and  magazines  with 
silhouette  pictures  has  recently  come  into  vogue. 


Sba&ow0rapbi2  231 

It  is  especially  popular  in  Paris,  where  the 
famous  caricaturist  Caran  d'Ache,  has  done  much 
to  elevate  the  art.  After  working  at  silhouettes 
for  some  time,  he  conceived  the  clever  idea  of 
cutting  figures  out  in  zinc  and  casting  them  upon 
an  illuminated  screen ;  fashioning  them  in  sections 
so  that  they  could  be  made  to  work  by  means  of 
cords  operated  by  assistants.  His  first  exhibition 
was  given  at  the  Chat  Koir,  a  cafe  much  fre- 
quented by  artists  and  literary  men.  Finally  a 
special  representation  was  gotten  up  at  the 
Theatre  d' Application,  and  crowds  flocked  to  see 
the  silhouettes.  M.  d'Ache  is  very  successful  in 
representing  military  scenes.  He  projects  upon 
the  screen  the  battles  and  triumphal  marches  of 
the  Emperor  Napoleon. 


232 


/Ibadic 


PAEEOT 


TWO  FOXES  FIGHTING 


SbaCtowgrapbB 


233 


VULTURE 


COUifTRY:MAN 


234 


^a^tc 


PIGEON 


&UINOCEBOS 


Sba^ow5tapbl^ 


BULL 


FOX  EATING  BABBIT 


SQUIBBEL 


236 


mnQic 


BUTCHER 


JOCKEY 


Sba&owfirapbi2 


237 


MEPHISTOPHELES 


GEIMACEE 


338 


ASadic 


»       ?h 


CLOWN 


GOAT 


SbaOowflrapbie 


239 


SHEEP 


TIGER 


BEAR 


240 


ASadfc 


ELEPHANT 


^ 


3ABB1XS 


Sba&owgrapbi2  241 


r6' 


PREACHER 


^ 


FISHERMAN 


SNDFF   TAKER 


242 


Aadic 


BULL  DOG 


SPIDER 


SbaDow^rapbi^  243 


DANCING  GIEL 


EABBIT   (2   methods) 


244 


ASadic 


GBIMACEB 


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ETIQUETTE  There  is  no  passport  to  good  society 
By  Agnes  H.  Morton  like  good  manners.  ^  Even  though  one 
possess  wealth  and  intelligence,  his  suc- 
cess in  life  may  be  marred  by  ignorance  of  social  cu^oms. 
€[  A  perusal  of  this  book  will  prevent  such  blunders.  It  is 
a  book  for  everybody,  for  the  social  leaders  as  well  as  for 
those  less  ambitious.  ^  The  subjed  is  presented  in  a  bright 
and  intere^g  manner,  and  represents  the  late^  vogue. 

LETTER  WRITING     Why  do  most  persons  dislike  to 
By  Agnes  H.  Morton  write  letters  ?     Is  it  not  because 

they  cannot  say  the  right  thing  in 
iht  right  place  ?  This  admirable  book  not  only  shows  by 
numerous  examples  just  what  kind  of  letters  to  write,  but  by 
dire(5tions  and  sugge^ons  enables  the  reader  to  become  an 
accomplished  original  letter  writer.  ^  There  are  forms  for  all 
kinds  of  business  and  social  letters,  including  invitations, 
acceptances,  letters  of  sympathy,  congratulations,  and  love 
letters. 

QUOTATIONS  A  clever  compilation  of  pithy  quola- 
By  Agnes  H.  Morton  tions,  seleded  from  a  great  variety  of 
sources,  and  alphabetically  arranged 
according  to  the  sentiment.  ^  In  addition  to  all  the  popular 
quotations  in  current  use,  it  contams  many  rare  bits  of  prose 
and  verse  not  generally  found  in  similar  collecflions.  ^  One 
important  feature  of  the  book  is  found  in  the  characterise 
lines  from  well  known  authors,  in  which  the  familiar  sayings 
are  aedited  to  their  original  sources. 

a 


EPITAPHS  Even  death  has  its  humorous  side. 

By  Frederic  W.  Unger  ^  There  are  said  to  be  "  sermons  m 
^ones,"  but  when  they  are  tombstones 
there  b  many  a  smile  mixed  with  the  moral,  fl  Usually 
churchyard  humor  is  all  the  more  delightful  because  it  is 
unconscious,  but  there  are  times  when  it  is  intentional  and 
none  the  less  amusing.  C|[  Of  epitaphs,  old  and  new,  this 
book  contains  the  be^.  It  is  full  of  quaint  bits  of  obituary 
fancy,  with  a  touch  of  the  gruesome  here  and  there  for  a 
relish. 

PI^OVEI^BS  The  genius,  wit,  and  spirit  of  a  nation 
By  John  H.  Bechtel  are  discovered  in  its  proverbs,  and  the 
condensed  wisdom  of  all  ages  and  all 
nations  is  embodied  in  them.  ^  A  good  proverb  that  fits 
the  case  is  often  a  convincing  argument.  ^  This  volume 
contains  a  representative  collecflion  of  proverbs,  old  and  new, 
and  the  indexes,  topical  and  alphabetical,  enable  one  to  find 
readily  ju^  what  he  requires. 

THINGS  WORTH     Can  you  name  the  colde^  place  in 
KNOWING  tl^e  United  States  or  tell  what  year 

By  John  H.  Bechtel  Had   445    days?     Do   you    know 

how  soon  the  coal  fields  of  the 
world  are  likely  to  be  exhausted,  or  how  the  speed  of  a 
moving  train  may  be  told  ?  What  should  you  do  fir^  if 
you  got  a  cinder  in  your  eye,  or  your  neighbor's  baby  swal- 
lowed a  pin  ?  This  unique,  up-to-date  book  answers  thou- 
sands of  ju^  such  intere^g  and  useful  qucilions. 

3 


A   DICTIONARY  OF     Mo^  of  u$  dislike  to  look  up  a 
MYTHOLOGY  mythological    subje(5l   because 

By  John  H.  Bechtel  o^   ^e   lime   required.  ^  This 

book  remedies  that  difficulty 
because  in  it  can  be  found  at  a  glance  ju^  what  is  wanted, 
fl  It  is  comprehensive,  convenient,  condensed,  and  the  infor- 
mation is  presented  in  such  an  intere^g  manner  that  when 
once  read  it  will  always  be  remembered.  €[  A  di^ndtive 
feature  of  the  book  is  the  pronunciation  of  the  proper  names, 
something  found  in  few  other  works. 

SLIPS  OF  SPEECH     Who    does    not    make    them? 
By  John  H.  Bechtel  The  beft  of  us  do.  fl  Why  not 

avoid  them  ?  Any  one  inspired 
with  the  spirit  of  self-improvement  may  readily  do  so.  ^  No 
necessity  for  ^dying  rules  of  grammar  or  rhetoric  when  this 
book  may  be  had.  It  teaches  both  without  the  ^dy  of 
either.  ^  It  is  a  counsellor,  a  critic,  a  companion,  and  a 
guide,  and  is  written  in  a  most  entertaining  and  chatty  style. 

HANDBOOK  OF  What  is  more  disagreeable 

PRONUNCIATION     than    a    faulty    pronunciation? 
By  John  H.  Bechtel  No   other   defedt   so  clearly 

shows  a  lack  of  culture.  ^  This 
book  contains  over  5,000  words  on  which  mo^  of  us  are 
apt  to  trip.  ^  They  are  here  pronounced  in  the  cleared  and 
simple^  manner,  and  according  to  the  be^  authority  fl  It 
is  more  readily  consulted  than  a  di(5lionary»  and  b  ju^  as 
reliable. 

4 


PRACTICAL  A  new  word  is  a  new  tool.  ^  This 

SYNONYMS  ^<^^  ^  ^o^  o^y  enlarge  your  vocabu- 
Sy  John  M.  Bechtcl  l^ry,  but  will  show  you  how  to  express 
the  exa(5t  shade  of  meaning  you  have 
in  mind,  and  will  cultivate  a  more  precise  habit  of  thought 
and  speech.  ^  It  will  be  found  invaluable  to  busy  joumaliils, 
merchcints,  lawyers,  or  clergymen,  and  as  an  aid  to  teachers 
no  less  than  to  the  boys  and  girls  under  their  care. 


READY  MADE  SPEECHES     Pretty  much  everybody 
By  George  Hapgood,  Esq.  in  these   latter   days,   is 

now  and  again  called 
upon  "to  say  a  few  words  in  public."  ^  Unfortunately, 
however,  but  few  of  us  are  gifted  with  the  power  of  ready 
and  graceful  speech.  ^  TTiis  is  a  book  of  carefully  planned 
model  speeches  to  aid  those  who,  without  some  slight  help, 
mu^  remain  silent.  ^  There  is  a  preliminary  chapter  of  gen- 
era] advice  to  speakers. 


AFTER-DINNER     The  dinner  itself  may  be  ever   so 
STORIES  good,  and  yet  prove  a  failure  if  there 

By  John  Harrison  "  ^^  ™^t^  ^o  «"^ven  the  company. 

^  Nothing  adds  so  much  zest  to  an 
occasion  of  this  kind  as  a  good  ^ory  well  told.  ^  Here  are 
hundreds  of  the  lateil,  be^,  brighter,  and  mo^  catchy  Tories, 
all  of  them  short  and  pithy,  and  so  easy  to  remember  that 
anyone  can  tell  them  successfully.  ^  There  are  abo  a 
number  of  seleded  toa^  suitable  to  all  occasions. 

5 


TOASTS  Mo^  men  dread  being  called  upon  to 

By  William  Pitienger  respond  to  a  toa^  or  to  make  an  ad' 
dress.  ^  What  would  you  not  give  for 
the  ability  to  be  rid  of  this  embarrassment  ?  No  need  to 
give  much  when  you  can  learn  the  art  from  this  little  book. 
fl  It  will  tell  you  how  to  do  it ;  not  only  that,  but  by  ex- 
ample it  will  show  the  way.  ^  It  is  valuable  not  alone  to 
the  novice,  but  to  the  experienced  speaker,  who  wiH  gather 
from  it  many  sugge^ions. 

THE  DEBATER'S      There  is   no   greater   ability  than 
TREASURY  tl^e  power  of   skillful  and  forcible 

By  William  Pittenger  debate,    and    no    accomplishment 

more  readily  acquired  if  the  person 
is  properly  direded.  ^  In  this  little  volume  are  diredions  for 
organizing  and  conducing  debating  societies  and  pracftical 
sugge^ons  for  all  who  desire  to  discuss  que^ons  in  public. 
fl  There  is  also  a  liit  of  over  200  que^ons  for  debate,  with 
arguments  both  af&rmative  and  negative. 

PUNCTUATION      Few  persons  can  punctuate  properly ; 
By  Paul  Allardycc  to  avoid  mi^akes  many  do  not  pundu- 

ate  at  all.  ^  A  perusal  of  this  book 
vsrill  remove  all  difficulties  and  make  all  points  clear.  ^  The 
rules  are  plainly  ^ated  and  freely  illu^ated,  thus  furnishing 
a  mo^  useful  volume.  ^  The  author  is  everywhere  recog- 
nized as  the  leading  authority  upon  the  subjed,  and  what 
he  has  to  say  b  pradical,  concise,  and  comprehensive. 

6 


OI^ATOR,Y  Few  men  ever  enjoyed  a  wider  ex- 

By  Henry  Wird  Beccher  perience  or  achieved  a  higher  repu- 
tation in  public  speaking  than  Mr. 
Bcecher.  fl  What  he  had  to  say  on  this  subje<fl  was  bom 
of  experience,  and  his  own  inimitable  style  was  at  once  both 
statement  and  illu^ation  of  his  theme.  ^  Tliis  volume  is  a 
unique  and  masterly  treatise  on  the  fundamental  principles  of  i 
true  oratory.  ' 


CONVERSATION      Some  people  are  accused  of  talking 
By  J.  P.  AUhaffy  too   much.     But   no   one   is  ever 

taken  to  task  for  talking  too  wefl. 
fl  Of  all  the  accomplishments  of  modem  society,  that  of 
being  an  agreeable  conversationalist  holds  fir^  place. 
Nothing  is  more  delightful  or  valuable.  ^  To  sugge^  what 
to  say,  juit  how  and  when  to  say  it,  is  the  general  aim  of 
this  work,  and  it  succeeds  mo^  admirably  in  its  purpose. 

READING  The   ability  to   read  aloud  well, 

AS  A  FINE  AI^T      whether  at  the  fireside  or  on  the 
By  Em«t  Legouve  public    platform,    is    a    fine   art. 

Q  The  direcflions  and  sugge^ions 
contained  in  this  work  of  ^ndard  authority  will  go  far 
toward  the  attaiimient  of  this  charming  accomplishment. 
^  The  work  is  especially  recommended  to  teachers  and 
others  interested  in  the  in^rudion  of  public  school  pupils. 

7 


SOCIALISM  Socialism  is  "  in  the  air.'*  fl  References 

By  Charles  H.  Olin  to  the  subject  are  conftantly  appearing 
in  newspapers,  magazines,  and  other 
publications.  ^  But  few  persons  except  the  sociali^s  them- 
selves have  more  than  a  dim  comprehension  of  what  it  really 
means,  fl  This  book  gives  in  a  clear  and  interesting  manner 
a  complete  idea  of  the  economic  doctrines  taught  by  the  beit 
sociali^. 

JOURNALISM  What  is  news,  how  is  it  obtained,  how 
By  Charles  H.  Olin  handled,  and  how  can  one  become  a 
Journalist?  ^  These  questions  are  all 
answered  in  this  book,  and  detailed  inStrudtions  are  given  for 
obtaining  a  position  and  writing  up  all  kinds  of  "assign- 
ments." ^  It  shows  what  to  avoid  and  what  to  cultivate, 
and  contains  chapters  on  book  reviewing,  dramatic  criticism 
and  proofreading. 

VENTRILOQUISM     Although  always  a  delightful  form 
By  Charles  H.  Olln  of  entertainment,  Ventriloquism  is 

to  moSl  of  us  more  or  less  of  a 
mystery  fl  It  need  be  so  no  longer,  fl  This  book  exposes 
the  secrets  of  the  art  completely,  and  shows  how  almoSt 
anyone  may  leam  to  "  throw  the  voice  "  both  near  and  far. 
fl  Diredtions  for  the  conStru(ftion  of  automatons  are  given 
as  well  as  good  dialogue  for  their  successful  operation. 
Q  Fully  illustrated. 

8 


CONUNDF^UMS     Conundrums   sharpen   our   wits    and 
By  Dean  Riven  lead  us  to  think  quickly.  Q  They  are 

also  a  source  of  infinite  amusement 
and  pleasure,  whiling  away  tedious  hours  and  putting  every- 
one in  good  humor.  ^  This  book  contains  an  excellent  col- 
le<5lion  of  over  a  thousand  of  the  late^,  brighter,  and  mo^ 
up-to-date  conundrums,  to  which  are  added  many  BiblicaL 
poetical,  and  French  conundrums. 

MAGIC  There  is  no  more  delightful  form  of  enter- 

By  Ellii  SUnyon  tainment  than  that  afforded  by  the  per- 
formances of  a  magician.  ^  My^erious  as 
these  performances  appear,  they  may  be  very  readily  learned 
if  carefully  explained.  ^  This  book  embraces  full  and 
detailed  descriptions  of  all  the  well  known  tricks  with  coins, 
handkerchiefs,  hats,  flowers,  and  cards,  together  with  a 
number  of  novelties  not  previously  produced  or  explained. 
fl  Fully  illustrated. 

HYPNOTISM  There  is  no  more  popular  or 

By  Edward  H.  Eldridge,  A.  M.  intere^g  form  of  entertain- 
ment than  hypnotic  exhibitions, 
and  everyone  would  like  to  know  how  to  hypnotize.  ^  By 
following  the  simple  and  concise  mArudions  contained  in  this 
complete  manual  anyone  may,  with  a  little  pradice,  readily 
learo  how  to  exercise  this  unique  and  ^ange  power, 

.9. 


WHIST  "According    to   Cavendish"   is    now 

By  Cavendish  almoft   as   familiar   an   expression   as 

jTwenty .third  Edition  "according  to  Hoyle."  ^  No  whist 
/  player,  whether  a  novice  or  an  expert, 

can  afford  to  be  without  the  aid  and  support  of  Cavendish. 
No  household  in  which  the  game  is  played  is  complete 
without  a  copy  of  this  book.  ^  This  edition  contains  all  of 
the  matter  found  in  the  Ejiglish  publication  and  at  one-fourth 
the  co^. 


PARLOR  GAMES      "  What  shaU  we  do  to  amuse  our- 
By  Helen  E.  Hollister  selves  and  our  friends?"  is  a  ques- 

tion frequently  propounded  on  rainy 
days  and  long  winter  evenings.  ^  This  volume  moA  happily 
answers  this  queilion»  as  it  contains  a  splendid  coUedtion  of 
all  kinds  of  games  for  amusement,  entertainment,  and  instruc- 
tion. ^  The  games  are  adapted  to  both  old  and  young,  and 
all  classes  will  find  them  both  profitable  and  intere^ing. 


ASTRONOMY :  Can  you  lefl  what  causes 

The  Sun  and  His  Family    ^^y  and  night,  seasons 

By  Julia  MacNair  Wright  and  years,  tides  and 

eclipses?  Why  is  the 
sky  blue  and  Mars  red  ?  What  are  meteors  and  shooting 
^ars  ?  ^  These  and  a  thousand  other  que^ons  are  answered 
in  a  mo^  fascinating  way  in  this  highly  intere^g  volume. 
Few  books  contain  as  much  valuable  material  so  pleasantly 
jpacked  m  so  small  a  space.  Q  lllu^rated. 

lo 


BOTANY  :  The  scientific  study  of 

The  Story  of  Plant  Life      ^o^^ny  made  as  intere^- 

By  Jdia  MacNair  Wright  "^8  as  a  faiiy  tale,  q  It  is 

better  reading  than  such 
tales,  because  of  the  profit.  ^  Each  chapter  is  devoted  to 
the  month  of  the  year  in  which  plants  of  that  month  are  in 
evidence.  Not  only  is  the  subjedt  treated  with  accuracy, 
but  there  is  given  much  practical  information  as  to  the  care 
and  treatment  of  plants  and  flowers.  ^  Ululated. 

FLOWEI^S:  Every  woman  loves  flowers, 

How  to  Grow  Them       ^^^  f^w  succeed  in  growing 

By  Eben  E.  Rexford  ^em.     With   the    help   so 

clearly  given  in  this  book  no 
one  need  fail,  q  It  treats  mainly  of  mdoor  flowers  and  plants 
— those  for  window  gardening ;  all  about  their  selection,  care, 
soil,  air,  light,  warmth,  etc.  ^  The  chapter  on  table  decora- 
tion alone  is  worth  the  price  of  the  book.  ^  While  the  sub- 
jedl  of  flowers  is  quite  thoroughly  covered,  the  ^le  used  is 
plain,  simple,  and  free  from  all  technicalities. 

DANCING  A  complete  in^lrucflor,  beginning  v^th 

By  Marguerite  Wilson  the  fir^  positions  and  ^eps  and  leading 
up  to  the  square  and  round  dances. 
^  It  contains  a  full  li^  of  calls  for  all  of  the  square  dances, 
and  the  appropriate  music  for  each  figure,  the  etiquette  of 
the  dances,  and  1 00  figures  for  the  german.  ^  It  is  unusu- 
ally well  Ululated  by  a  large  number  of  original  drawings. 
q  Without  doubt  the  be^  book  on  the  subjea. 
.XX  , 


ASTROLOGY  If  you  wish  to  obtain  a  horoscope  oi 
By  M.  M.  Macgre jor  your  entire  life,  or  if  you  would  like  to 
know  in  what  business  or  profession  you 
will  beil  succeed,  what  friends  you  should  make,  whom  you 
should  marry,  the  kind  of  a  person  to  choose  for  a  business 
partner,  or  the  time  of  the  month  in  which  to  begin  an 
enterprise,  you  will  find  these  and  hundreds  of  other  vital 
que^ons  solved  in  this  book  by  the  science  of  Apology. 

PHYSIOGNOMY     How  can  we  judge  whether  a  man 
By  Leilt  Lomax  may  be  tru^ed  to  handle  money  for 

us?  ^  How  can  a  woman  analyze 
a  man  who  would  marry  her  ?  ^  Partly  by  words,  partly 
by  voice,  partly  by  reputation,  but  more  than  all  by  looks — 
the  shape  of  the  head,  the  set  of  the  jaw,  the  line  of  the 
mouth,  the  glance  of  the  eye.  fl  Physiognomy  as  explained 
in  this  book  shows  clearly  how  to  read  charadler  with  every 
point  explained  by  illu^ations  and  photographs. 

GI^APHOLOGY :  Do  you  know  that  every 

How  to  Read  Character     lime  you  write  five  or 
from  Handwriting  ««  ^^^  y°"  ^^"^i*^  * 

By  Clifford  Howard  complete  record  of  your 

charader?  Anyone  who 
underilands  Graphology  can  tell  by  simply  examining  your 
handwriting  ju^  what  sort  of  a  person  you  are.  fl  There  is 
no  method  of  charader  reading  that  is  more  interesting,  more 
trustworthy,  and  more  valuable  than  that  of  Graphology, 
and  it  is  the  aim  of  this  volume  to  enable  anyone  to  become 
a  maiter  of  this  moSt  fascinating  art. 


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